Diqiu zuihou de yewan (2018)

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1. 

   Siskoid

   Bi Gan offers a visual feast in Long Day’s Journey Into Night, a man's quest to find the woman he once loved (Tang Wei), but who never followed him into exile a dozen years ago. The first half of the film can be hard to latch onto, despite the superlative cinematography, because it really is a journey into memory. It feels fragmentary by design, and you're often caught flat-footed, wondering if any given moment is the past or the present. Things are hidden from view, caught in reflections, revealed and recalled, until the tapestry is complete enough that things start to make sense. The second half contrasts (and thus justifies) the second, which is an hour-long, dreamlike, unbroken shot (which was also in 3D - and cleverly announced - in theaters, though we lose any oddness this would have added on our ol' flatscreens, if indeed even the theatrical experience could sustain it). In both haves, the actors move in decrepit villages where everything has rotted and broken down, a ghost world that ties into the world of fading memories. I wasn't sure at first, but by the end, I was completely sold. 1 year ago
2. 

   elcid

   A masterwork, the film begins in a dream and ends in it again. Citation of Tarkovsky, specially Stalker:, the water, the glass falling from the table. Beautiful camera work with interesting use of lights and colors. The history is like dreams partially true and false, but this we are told themselves. Also there are Freudian psychoanalytic and existentialist motives. 2 years 1 month ago
3. 

   badge

   Game you can play with your friends: Which is More Pretentious, the Writing or the Directing? 4 years 1 month ago

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