In the subtropical province of Guizhou, Chen Sheng embarks on a journey to find his nephew.
In the subtropical province of Guizhou, Chen Sheng embarks on a journey to find his nephew.
Lu bian ye can
As I was exiting the theater, I heard a man tell the woman beside him, "Y'know, this was directed by the guy who made Uncle Bowie."
I honestly can't improve on Shelly Kraicer's take, and I'm not going to try. I will simply note just how much his observations opened the film up for me, particularly when I felt a bit at sea with it. (Confession: I tend to read about films only afterwards, but I paused Kaili Blues in the middle, read Kraicer, and finished the film.)
I was having trouble orienting the characters in relation to one another, not so much their familial connections but where they were relative to each other in time and space. At first I mistook this problem as my own, or some combination of my lack of sufficiently close viewing and Bi's elliptical style. More specifically, I was…
Right up there with the greatest feature
length directorial debuts of the last decade.
"You took a photo and stole my soul."
or: Guizhou Express. bi gan holds a greater understanding of film grammar at 29 than many achieve in their whole lives, and watching Kaili Blues, you get the feeling he was born to do this. much of this feels like "if you were a fly on the wall" type of stuff, as if you were a bird flying from fragment to fragment around Guizhou, and bi gan shoots it with a cryptic, inscrutable sort of fondness. the andrei tarkovsky + apichatpong weerasethakul comparisons certainly hold merit (who knew the perfect companion piece to Stalker would arrive 36 years later), but this is an entirely new beast that deserves to be seen without the perspective of bi gans' forebears. a mystery film that ironically alleviates all the tension in your body. the best kind of dream.
The rating is a total cop-out. There are sections where I wanted to curl up and take a nap and others where I wanted to stand up and cheer. So inscrutable at times that it is almost impenetrable and yet it's lingering in my head more than most of the films I've seen recently.
The best sequence is the middle portion which is one long (at least a half hour) unbroken take. It does not come off as a gimmick -- like in the recent Victoria -- but as a necessary tool. It does not strive for vacant verisimilitude but instead highlights the artificiality of the scene, which itself may be a hallucination. Throughout the film there are moments of haunting grace notes (a body appearing as a reflection in the corner of the frame, a clock manifesting itself on the side of a train) that are so subtle you wonder if they even happened.
Physician, heal thyself.
Hou Hsiao-hsien by way of Miguel Gomes, a work that cements its formal mastery largely through subverting it, pulling off audacious long takes that use handheld verisimilitude and sheer duration to conjure novelistic density and a surreal disruption of time. Past and future collide to make yet more baffling the present. The camera has a strangle wobble effect that undermines its POV roamings, instead highlighting the hyperreal textures and colors of the digital cinematography until this tactile film becomes a living reverie, dwelling on memories that are still being formed while the protagonist relives them. Incredibly, this descent into a temporal collapse actually clarifies the more inscrutable opening third, revealing its bricolage of scattered details to be the introduction of numerous small plots addressed in the bravura unity of time and vision that comes later.
The most interesting thing about Bi Gan's highly elliptical road-movie is that it feels stuck between two worlds, similar to the way Ozu ruminated on that low-intensity but painful feud between the old and the new. This is not an intuitive film, it's pretty stingy with information, but it does use its visual style to communicate generational disharmony between traditionalism and modernism, calling forth the contradictions of Meiji Restoration. One might even argue that KAILI BLUES is Bi Gan's surreal rendering of the Ozuian fetish for urban alienation, only he's molding it now for his own country, setting up the clash between a historically lush, organic Chinese landscape and its unfinished, inorganic, industrialized future.
KAILI BLUES presents a dream-like journey…
Reality perceived through memories, but the memory had gotten rather blurry, to the point where it couldn't be differentiated from dreams. Since the beginning we were seated behind frosted glass, it was never meant to be a literal recount of events. There is enough realism for a full immersion, yet also infused with enough inconsistencies to tip us off balance. The human memory is notoriously unreliable. In our minds, the destination was clear, the journey there wasn't, like how yangyang took a large detour by taking a boat to cross the river, then circle back around by bridge, just to attend a band performance a few blocks away. Some details might have been lost in the fog, tangled up and replaced, the timeline is all wrong too. At the end of the day, we were simply reliving a past that is not ours.
Two movies now into the work of Gan Bi (the first being Long Journey's Into The Dark), its clear this is a director that heavily drinks from the waters as Koreeda in terms of story, Yang in relation to the themes and Malick when it comes to the direction (this one by the end we hit to the one long 40+ mins take, you can trace many of tits ifnluences to The Tree of Life and Knights of Cup). However, maybe because of his time behind the camera or for personal preferences, Bi is much of a low-key and minimalistic man.
Another thing it has become clear is that Bi really loves his hometown of Kaili (or its surroundings), which…
A broken down person and his journey through a place that acts as the meeting point of the past, the present, and the future. The place is enigmatic; full of lush green scenery and a sense of ethereal tranquility. On his quest to find a person, he enters a fantasyland that helps him unearth his own past to us. Here, a 25 years old Bi Gan emphatically announces his arrival to the film industry, and shows everyone that he understands the language of cinema like a seasoned veteran. Kaili Blues, along with his next feature, unquestionably solidify him as the next great Asian director to keep an eye on.
"It's like being in a dream."
This meditative, almost transcendent chronicle of a man looking for his young nephew in the Chinese countryside marks a remarkable debut for 27-year-old director Gan Bi. It starts out like an understated family drama with nothing much happening. Crucial bits of the plot are unraveled slowly and mysteriously. Poetic voice-overs and Buddhist quotes overlay the shot composition. This is all reminiscent of the Taiwanese New Wave, actually. But then something special happens. Around the one-hour mark a tracking shot begins and it’s the most transfixing thing ever. It really gives off the feeling of being whisked away to a place that defies time, like reliving a memory. This is just stunning and I hope to see more from this young filmmaker in the coming years.
Three masterpieces of 2016 :
Andrzej Zulawski's Cosmos.
Apichatpong Weerasethakul's Cemetery of Splendor.
Gan Bi's Kaili Blues.
Bi Gan establishes the film’s enticing downcast atmosphere through the use of his now trademark intricate, yet ungiving exposition; only to drift away into a half baked metonymy about impermanence.
Increíble, increíble, increíbleeeeeee! Nunca había visto semejante brutalidad... y cuando la veáis sabréis de lo que hablo concretamente 😏
Un millón de ganas de ver que más me puede ofrecer Gan Bi😍😍😍😍
I'll be honest: I barely tracked the story and had to read some other people's reviews after the fact to understand some of the specifics. But, and I'll be honest again, that didn't matter to me at all while this was on. Bi Gan is really getting at something I've never seen before here. His cool color palettes contrasted with the warm, reflective tone create an utterly entrancing environment that's only furthered by the pure technical mastery on display. It's been said plenty of times before, but that 41-min tracking shot is fucking transcendent. And, even though I didn't entirely understand what was going on, I could feel the healing energy seeping through the screen for the entire latter half of the film. Magical.
순서대로 봤으면 좋았겠지만 아무래도 <지구 최후의 밤>을 먼저 보고 이 영화를 보게 되니, 유사한 스타일을 비교하면서 훌륭한 걸작의 원형을 보는 데 흥미로웠습니다. <지구 최후의 밤>이 걸작이라고 생각하는 이유는, 꿈과 현실의 모호한 경계 속에서도 이야기를 놓치지 않으면서 이를 완벽한 영상미로 풀어냈기 때문이였는데, 이 영화는 그에 있어서 영상을 어떻게 만들 것인지, 하고자하는 것을 어떻게 담을 것인지에 대한 수많은 연습처럼 보이기도 했습니다. 이동하는 장면을 하나하나 다 찍은 점들이나, 건물과 건물 사이를 직접 들어가면서 시간의 간격을 줄이면서 신비하고 낯선 느낌을 선사해주는 걸 보면 정말 비범한 사람이구나란 생각이 듭니다. 이 영화를 보면서 가장 많이 떠오른 작품은 박태원의 <천변풍경>이기도 합니다. 환경과 상황은 다를지라도 노변야찬이라는 한자어의 의미나 한 지역과 그곳에서 살아가는 사람들을 그려나가는 이야기에 대해 유사한 면이 많은, 이를 영상으로 풀어낸 영화와 글로 풀어낸 문학이라는 멋진 두 작품이라는 생각이 들었습니다. 시적인 영상과 쏟아지는 한시가 겹치면서 쉽게 말하기 어려운 모한 느낌을 만들어내기도 하는데, 때깔 좋고 촬영에 대해 미적 감각이 탁월한 연출가는 어떤 얘길 하더라도 깊은 지점을 찾을 수 있음을 말하는 듯한 느낌도 있었습니다.
~ Beautiful scenic poetry in the midst of country suburbs daily grind ~
Es como estar en un sueño
Felt like the brainstorm that was eventually shaped into Long Day’s Journey. Love Bi Fan’s poetry, sound design is excellent, and it’s a visual treat. Long panning shot was very cool
Bruh...When she walked on the bridge I was slightly stunned. I realized she had just made a little tour in the beautiful surroundings of the village. Then I realized that it was all filmed in one shot. Then I saw the boat on which she was sailing to the other side of the river just in order to get back to the same place by the bridge she's now crossing.
She also told us about the geographical data information of the village. it's very beautiful. I can't explain it.
I like how everything and everybody are wandering like they have no things to do.
The camera is a kind of a character of its own in the film.
بالبداية سبب متابعتي ومشاهدتي للفيلم هو المخرج Bi Gan لإخراجه الفيلم الساحر Long days journey into night
ماكان الفيلم الشيء اللي انتظرته منه ممكن سبب رفع سقف التوقع عندي ؟ ممكن لكن لم اشعر ب احساس قوي ، ماعدا في المشاهد التي كانت على الدراجة و بالحكم او الشعر الذي كان يقوله البطل.
Trains, watches, dreams, and death:
The film is a measured exploration of dreams as mist and currents that, respecting no borders, diffuse through time and space. The state of lucid dreaming we are induced into carries the pings of melancholic memories, the overtness in childhood, and the maze-like territory of tangled memories we attempt to penetrate.
tão bom ver algo que parece novo