“Director Chi-Jang Yin is showing unusual picture of working people in China. This experimental assembly linked with different stories shrouded in mystery. The film reveals the natural human being what reflects the specific nature of the work.”
Poland Gdansk DocFilm Festival, Tri-City Theater, (April 23-25), Gdansk, Poland, 2010

“…Its [For the Unseen’s] deadpan aesthetic combines the best qualities of a short story and a long train ride; we neither see nor hear the conversation, but we suspect it’s with the filmmaker’s father. No story is so personal that it’s untouched by the political and economic environment in which it takes place. The conversation in FOR THE UNSEEN ends with a cash exchange that adds a painful layer to a complicated interaction.”
Cine-File, “Crucial Viewing: Short Films by Chi Jang Yin (New Experimental),” written by Josephine Ferorelli, April 30, 2010

“Lighthouse, 16 mins (2009), is about Chinese workers working and living at a factory town in southern China. The events of seeing, being seen and remaining unseen open up imagination, understandings and communicate a social statement.”
The Noe Valley Ministry, The Odd Monday, Experimental Films by Chi Jang Yin, San Francisco, CA, 2009

“…Lighthouse captures reality without comment and leaves the questions and answers to us.”
Amsterdam International Documentary Film Festival—IDFA, reviewed by Anna Abrahams, The Netherlands, 2009

“Set against the captivating images and sounds of a train in motion, this experimental film subtly explores the fragmented relationship between a father and his daughter.”
Los Angeles Film Festival, 2008

“It is a great completeness of the architectural process and its definition with a rigorous use of images, without spoken word. (Original in Italian)‘E’notevole la sintetica compiutezza con cuièdelineato un processo architettonico con un uso rigoroso delle immagini, senza ricorrere ad alcun parlato.”
Asolo International Art Film Festival, Italy 2007

“Chi-jang Yin’s Glass House (2005) uses various techniques to bring the architecture to life; for example, shadowy see-through figures underscore the way light undercuts the solidity of the interior it fills.”
Chicago Reader, “Film Critic’s Choice”, article by Fred Camper, February 23, 2007

“The ‘Glass House’ is an experimental documentary that examines the creative process of a modern architect building a home for his family. The home is an experiment in form and function, transparency, livability and technology. The viewer emerges with a deeper understanding of architecture, construction and the rich contemporary possibilities of time, movement and light.”
5th Kara Film Festival, Karachi, Pakistan, 2005

“Another Clapping présente la vie de l’artiste ou comment un jour, elle s’est arrêtée de pleurer en voyant son père battre sa mère.”
Carte blancheàl’underground chinois, Cabaret Aléatoire, Marseille, France, 2005

“Another Clapping, from 2000, is a mother-daughter coming-of-age piece by Chi-Jang Yin. Unfolding in real-time, this film chronicles the tension between a Chinese woman both caught up in old social mores but enjoying her freedom far away from the husband who beat her, and a modern daughter struggling to prevent the erasure of her heritage. This documentary feels true—aided perhaps by it’s disjointed structure—providing both a candid picture of multicultural America and a compelling look at human resilience.”
Art Papers Magazine, November/December 2004 issue

“Yin’s ‘Another Clapping’ centers on her mother’s longing to return to her homeland China, as a possible cure for the mother’s mental instability. [The] artist incorporates personal photographs that slowly transform or decompose in the viewing plane. These visual cues impart a sense of emotional distance, like watching your life roll by. The implementation of stillness in a format characterized by movement heightens the idea of frustration felt by [Yin], as [she is] unable to return to a place of past importance—locked out by either political climates or personal fears.”
Cheekwood Art Museum, Neither Here Nor There: Video Artists Navigate Cultural Displacement, curated by Terri Smith, Nashville, TN, 2004

“In ‘Another Clapping,’ Yin probes her mother’s tragic past, and the audience is simultaneously drawn in and startled by the intimacy as Yin’s mother is interviewed.”
Asian CineVision’s 24th Annual Asian American International Film, Florence Gould Hall, New York, NY 2001

“In the moving autobiographical meditation Another Clapping, Chi-Jang Yin uses fragments—voice-over, printed titles, phone messages, and old photographs, some with her father’s image cut out—to tell the story of a family fractured by domestic violence and the forces of history and to explore the ambiguous feelings between mother and daughter. Footage from the Cultural Revolution, including shots of kids humiliating an old man, forms an eerie parallel to the daughter’s alienation.”
Women in the Director’s Chair International Film and Video Festival 2001