Ploydsge just watch it!

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

DipitySkillful an ambitious but ultimately ineffective debut endeavor.

Armand Questions. One answer. And search of self - definition. Tales of three lives. And crumbs of their world as seeds for happiness. A movie like a dance in rain. Cloudy, clear,cold, fresh, fragile limits. Mirrors of ages and pieces of freedom. A earthquake and some flowers. Not remarkable film but one of many who creates a circle of memories and nostalgic questions. Puzzle , game and exercise of feminine essence. Ordinaries facts and levels of beauty. Essay about small things and relationship. Fights against errors and woman as axis of basic truth. At final, masks of same person or just steps in park evening. Sensitive, delicate, minor, strange, common. A movie. Like open window.

Seng Siew I seldom watch Asian movie.. honestly I think most of them are quite shallow, especially the character development part. Before I watch this film, I don't have any expectation. After the 15 minutes of this film, I am impressed and surprised. Sylvia Chang did a good job. The story, the character, the plot. It's really deep, it make me think. To me, this is a story about sense of insecurity and loneliness. A 20+ girl, 30+ girl, 40+ girl, the Shi Go, Jerry... They are all experiencing loneliness and emptiness, they are lost, they need something in life, they try to seek for something that can fill up the emptiness, but it's not work. Sylvia Chang did a good job, she make you feel how the character feel, how lost they are, how much they need someone to solve their sense of insecurity. This is a very worth watching movie~ I hope the Hong Kong or Taiwan movie industry able make more this kind of film, which is sincere and deep, and character driven. I want to thanks Sylvia Chang for her masterpiece~

philaychan Being a female film, 20/30/40 starts from a female angle to look at life at different stages of age. The stories of Rene Liu and Sylvia Chang are indeed quite stereotype and traditional. Liu, because of lack of confidence in man and marriage under the influence of her mother, has a wild love and sex life. Chang has divorced after finding her husband having an affair and crazily look for a new companion but finally in vain. The magic of the film comes from the director catering to the inner feeling of characters, their thoughts and the actors' superb acting performance.There are two scenes very touching. One is when Chang doing volunteer work in the hospital she said life is a passage where people around you keep leaving you. It's a bitter monologue but then she said to the patient `if people don't leave me, how can I take care of you now?' The heavy tone is simply turned into an easy laughing mood. It's touching but not emotional.The other one is when Liu finally has settled down with the man who bought her piano. Liu was sitting in front of the piano with the man's daughter who was playing a song; the man's hand touched her daughter and then moved to the shoulders of Liu. The audiences see only the man's hands touching Liu; yet at the same time feel his heart touching Liu too. The warm feeling coming from Liu's face is such a contrast compared with the previous Liu in love or sex with the other guys.The story of Li Sin Je is a more brave trial. The relationship she has with the other girl is for audience a fresh experience. It's pure, sensational yet sexually related, a test about the extent of love. The director has dealt with it in a very sensible way giving the characters high spiritual innocence and visually no faulty behaviour. I've seen an interview with the director where she said she believed this kind of friendship exists in a lot of cases between two close teenage girls but it's not lesbian love. I would prefer to say she's given a space in the film for audiences to decide what they think this relationship between the two girls is than having defined it. No matter what one might think, he can't deny it's so pure and innocent.The blending of the three stories deserves a high credit to the director and is one of the successes. Without this, the film wouldn't have been so profound in content. The characters of the three stories are so close together even though they don't know each other in the film.The ending is the 3 females, though after very tough period of trial in catching what they aim for, have all failed (Liu also failed because she'd been looking for passion, not settle down). They fail but they don't regret, still brave to face their future and accept what has happened to them a part of their lives. Destiny only chooses what to happen to them but can't decide for them what they should do and go for. They still choose their own ways. They look like loser; actually they are winner.It's such a great film and we should not simply regard it as a female film because the extent it covers and message it has conveyed is certainly beyond female world. A man like me watched it with little tears wetting my eyes.

Harry T. Yung SpoilersI have heard too many radio interviews of the three leading ladies to be immune from their effect. The deeply ingrained concept, before I saw the movie, was that 20 is about having all the time in the world and nothing to lose, 30 is about crossroads and choices and 40 is about having no choice and hence complete liberation. While there is a fair amount of truth in these generalizations, there is not much originality.The movie is made up of three stories (or sketches, which would be a better description), written separately by the three actresses Sylvia Chang (40), Rene Liu (30) and Lee Sinje (20). Obviously, one would not expect the brilliant interconnection of the three as in Inarritu's films. The three sketches are independent and whatever links we see are entirely inconsequential. One thought that I have though (my own, not from listening to the radio interviews), is that these three could very well be the same person, at different cross-sections of her life.Of the three sketches, 30 and 40 depict things that work themselves through daily, if not hourly, in all big cities in every continent: a flight attendant at a crossroad with her romantic interludes and a divorcee searching for a new balance in her life. With limited scope to work with, the two award-winning actresses do whatever they can with some good results here and there. They did not get much help though. 30's two romantic objects are mere cardboard, although the final encounter gets a bit better. 40's episode oscillates between run-of-the-mill comedy and occasional nice touches.Back to the radio interview, Lee Sinje said that when she delivered her script to director Sylvia Chang, she wasn't sure if it would be accepted. Without even blinking, Chang took it. This sketch of 20 is certainly more refreshing than the other two, tackling the relationship between two girls that tread subtly between friendship and sexual love. The performance of Lee, also award-winning, does not suffer in comparison with Chang and Liu, although all three might be said to be `acting themselves', to a degree. Worth mentioning is Kate Yeung who, playing the other girl, is billed in the credit under `Introducing'. Based on her performance, she has every right to be billed as the fourth lead. A star-studded supporting cast (Anthony Wong, Tony Leung Ka-fai, Ren Xian Qi) ensures a good draw. On the opening night I went to, there were a lot of laughs from people who must have felt compelled to laugh simply because Anthony Wong was speaking a line.While on the whole somewhat sketchy, the movie is enjoyable, but not as good as director Chang's previous work Xin Dong (1999) which goes considerably deeper into the characters.