电影本身就是隐讳的东西,所以观众不是很容易就能弄明白,只能靠不经意间的突然的启示理解之。说《一一》是启示录并非只因为它笼罩在神秘中,充满谜样的色彩。更多的是它带给观众的警示,静悟。作为杨德昌的晚期作品,或许是杨德昌对时间,对生活的参悟让他开始冷眼这世界,冷眼这时代,才让作为观众的我们深深感到电影中人物的既定和命运的注定。 The film itself is a taboo thing, so the audience is not very easy to understand, can only be understood by sudden revelations inadvertently. To say “one in one” is that Revelation is not just a mystery, full of mystery. More is that it brings the audience’s warning, Jing Wu. As a late work by Edward Yeung, perhaps Yang Tak-chang’s time-to-life comprehension of life made him begin to sneak in this world. With this cold-hearted era, we as audience deeply felt the fate of the established and destined characters in the film.