Di qiu zui hou de ye wan

empty pretentious academic postmodern film school garbage that only poseur internet-era cinephiles who refer to apichatpong weerasethakul as "joe" and have karagarga memberships and wong posters and sculpting in time on their bookshelves like me could possibly love. wait... guys like me? i'm a guy like me!

I simultaneously agree with both JakeAesthete and loc42. I couldn't quite connect with everything, even when it all started coming back and fitting into place. That ending. It's an incredible long take for sure but it ends up feeling too much like an incredibly long take. It's nice to finally know that Stalker takes place in 2046. GET IT?

Visuals are 10/10. A WKW and David Lynch hybrid. Where the former utilizes recurring thematic motifs as a way to construct a cinematic song poem, the latter uses recurring information to allow the audience to construct a pattern of meaning from the surrealist ambiguity if they so choose. Here, Bi gives us the opportunity to choose one or both of those options; either way, we must marvel at the beauty. The long shot, though impressive, feels amateurish at times, not unlike in Kaili Blues.

I want to drink in every second of this gorgeous, haunting, mysterious, melancholy tone poem.

Sure it's basically just a mashup of Wong Kar-wai and Tarkovsky, but then holy shit there's an hour long single take in 3D. I couldn't tell you a goddamn thing that happened in this movie, but by the end I was sort of convinced that it was the moment all of cinema had been leading up to.

The meta elements and long takes are impressive, and I really wish I liked this more, but it is also very, very dull.

Can't say I understood it, and it did get a little long at times, but the camera work is amazing and the dreamy atmosphere near perfect. === Holds up on the rewatch too - the visuals are just fantastic. This must be the only way in which you can use both 3D and a long take without them becoming gimmicks.

So similar to Kaili Blues that I think you’ll probably prefer whichever one you watch first. This movie is great, I really enjoyed it, but watching them in order gives you a strong sense of “I want to do that again but better”, even though the earlier film rises above its technical imperfections. It’s strange, I almost feel like you need to watch one or the other, but not both. I hope he does something completely different next

moody, pretty to look at, i have no idea what happened, super long one-takes are the most overrated element in filmmaking today.

Visually beautiful but it's an easy construction: put charismatic people in front of neon-lit urban decay, of course that looks cool... But it doesn't make you an artist. Made exclusively for asian fetished cinephiles who attend film festivals (which should be me). I am used to this kind of stuff, nevertheless, it was excruciatingly boring, had to take 3 breaks watching death metal videos on youtube just to get rid of my frustration.

Gorgeous cinematography, mesmerizing sound design, an absolutely entrancing Tang Wei, and a show stopping hour long oner that any film buff would wank over don't make this a masterpiece. I wish the result were more emotionally involving but this dreamlike, narratively deconstructed surrealist gangster film, like if Infernal Affairs had been cut up and reassembled along the lines of Last Year at Marienbad, is at least a vivid, if detached trip.

The dispersed mystery, the subtle Tarkovsky references and the bold long takes -including the final 1-hour 3D sequence- make up for just a little bit of greatness.

Everything about you is a mystery.

Great at establishing mood and going nowhere with it (except off the beaten path am I right?)

It's as about that 59-minute amazing, surreal shot as the wait for it -- because, to be honest, I just couldn't care less about what was actually happening. Stylish as hell, and seductive and technically way more accomplished than 1917, for example.

I'm pretty taken with this. The flashback/search structure works well in the film's first 70 minutes. I really liked the use of the single take for the dream sequence in the final act--yes, it's showy, but there's a sense to doing it that way that communicates something slightly disorienting, a great stand in for a dream. There isn't much to hang on to as far as details about the characters, but this film strikes me as more about feeling and atmosphere, which are there in spades.

I'm torn. It's a technical achievement but I'm not sure it was worth it. Sometimes when he just moved the camera along a wall with talking placed over it the movie felt dull. And like someone said, the long shot at the end is impressive but also kinda just felt like a long shot. There are moments where it's gorgeous and the narrative would be interesting if it wasn't limited by Bi Gan's directorial choices. I liked it, ultimately, and admire it in ways but I wanted more.

Structured like a Pynchon novel, with the truth leading to less and less certainty, and realized through an utterly stunning set of scenes lensed with as much attention paid to the poetic details as to the increasingly hopeless plot - all to be abandoned into a poetic reverie of imagined bliss which arrives at the same moment as the real loss of all hope. What a beautiful contrast between the story and the scene, the real and the poetic, the hopeless and the idealized. Perfect in every way.

Looks like a mix of Wong Kar Wai and Tarkovsky without doing justice to both directors. Sorry but I don't perceive any poignancy or poetry in showing real clocks to create a sense of time passing by. The romance seems so inauthentic and mechanic. I am sick and tired of these cliché women, who are mysteriously charming and intellectualized. Long shots with the absolute ugliness of Chinese countryside's dirty aesthetics don't appeal to me either. I see the intention, but it is fake and failed.

one of the films worth ruminating on...

Gan Bi surely is one of the greatest skilled directors to emerge the last few year. The already famous one-take long 3D ending sequence is absolutely marvelous. And all other direction before that is superb already too. But the movies is too much style over substance. Or at least I didn't get enough substance out of it.

Como eu não sabia que hora apareceria o plano-sequência de uma hora, fiquei ansiosa por metade do filme do tipo "falta muito, papai Smurf?", mas quando ele finalmente começou o prazer estético foi garantido. Na Mubi.

nothing happens in the first hour, so no need to bother more...

Music, cinematography, shots, dark atmosphere, dream transitions, metaphors and words… Everything is wonderful and flawless. A near-perfect movie from Gan Bi. I hardly prevented myself from giving 100 points and maybe I lost points due to the cast. David Lynch, Tarkovski, Bergman even Fellini. It is admirable for Gan Bi to watch the movies of these men and make such an example. Breathtaking, this is art.

Bir film ne hissettirmeli? Sinematografisi nasıl olmalı, müzikler nasıl kullanılmalı? Diyaloglar hikayeye nasıl hizmet etmeli? Hepsinin cevabı olarak gelmiş bu film. Long Day's Journey Into Night ve yönetmen Bi Gan'ı geç keşfetmiş olsam da bundan sonra hep takibinde olacağım.

A non-linear mystery film that slowly dissolves into a dream. The jigsaw puzzle plot is composed of pieces that don't quite want to fit together. Beautiful and even moving at times, it is definitely an achievement on a technical level.

a somnolent masterpiece

reverse kurgulu ruya, ani, hayat ucgeninde melankolik gorsel solen

I didn't get it. This movie is as dull and cliche as they come.

Modern 1 dünyada gezinti yapmak. Arkadaşının, mafya tarafından öldürülmesi sonucu, sevgilisini kaçıran dedektifin hikayesi. Tehlikeli sahnelerde, gerildiğimiz 1 film. Ağır ilerleyen kurgusu, detaylı kamera açıları, metaforların her yerde dolandığı, rüya ile gerçek arasında dolaşan senaryosuyla muhteşem. Damarlarımıza David Lynch pompalandı. Yüzümü güldürdün. Başımı döndürdün. Acımı dindirdin. Yolumdan çevirdin. Ve daha 1 sürü şey.

WOW!!!! What a visual Film!! What a pictures!! What a coplex screenplay!!

Not an easy film to fully grasp on first watch, with a narrative that constantly shifts between past and present, memories and dreams, but fascinating to watch nonetheless. The second half is an impressive technical achievement and recontextualizes everything that has come before. Can't wait to see this one again.

Aquário

soon as i got out the movie i was like "damn hell yah this got a little bit of Wong Kar-wai and a little Tarkovsky and Double Indemnity" and it looks like everyone else did too. anyways, it's fuckin dope and beautiful as hell, dude!

Impressive final act--the first film I've seen to spot and exploit that 3D actually feels *less* real than 2D--but for me the ship had sailed by then as the preceding film is talky and hackneyed (disclaimer: subtitles felt iffy).

Atlas

kafam cok karisti

25. Adana Film Festivali.

14 Haziran 2018