IMDb रेटिंग
7.3/10
4.7 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंWhile travelling the countryside to locate his nephew, a small town doctor finds himself interacting with people from his past and future.While travelling the countryside to locate his nephew, a small town doctor finds himself interacting with people from his past and future.While travelling the countryside to locate his nephew, a small town doctor finds himself interacting with people from his past and future.
- पुरस्कार
- 20 जीत और कुल 20 नामांकन
Zhuohua Yang
- Monk
- (as Yang Zuohua)
फ़ीचर्ड समीक्षाएं
The set up for this film is long and not particularly interesting. The protagonist often narrates poetry that I didn't care for, and everything before the long tracking-shot felt boring and not anywhere near as compelling as the film that the director, Bi Gan, would go on to direct (Long Day's Journey into Night).
But everything from that long tracking-shot up to and including the ending (what a final shot!) is something unlike anything I've ever experienced before in film. Like a future or long-past memory being made and enacted in real-time.
We follow a handful of characters as they move about a small town in rural China, the camera switching seamlessly between them in an act of mesmerizing cinematography, no matter how they are travelling or however relevant they may seem to be to the mediocre plot. As this happens, we begin to familiarize ourselves with the location almost to the point that we could map it out, if we had to. You start to feel as though this town is a place you have actually (but only briefly) visited as a tourist who will go on to look back on the time spent there with bittersweet nostalgia. The people, the place. All of it. It has a personality of its own, but calls upon some of your own memories of places and people you remember well, but don't truly know all that well. Just as a tourist would remember but not know the people and places from his transient experiences with them.
Never have I felt so much of a connection to a location in a film, to the point where it practically feels like a real-life experience of my own.
All this might sound very wanky, which is something I was going to accuse the film of being until it reached this part of the film. It won't be the kind of movie that everyone will enjoy, and I'm not even sure I can recommend it.
I'm not entirely sure I understand the film's overall message. And I'm not even quite sure I want to, as it may take away from my very personal journey that it took me on. I probably won't even re-watch this film. Just as you can't relive memories so vividly. That said, just like Bi Gan's more recent film (Long Day's Journey into Night), it clearly plays around with the ideas of memory and dreams. Though I think Kaili Blues is more of a challenge to understand, with all the wanky poetry, cultural differences and references to "wild-men" urban legends.
Some great films can be ruined by a scene, whereas other films such as this, could be elevated from mediocrity to something fresh, exciting and beyond words.
Overall, Long Day's Journey into Night is a far better structured film, with a much more interesting protagonist and plot, but the flawed masterpiece of Kaili Blues manages to achieve something far more significant in its last 55 minutes (that goes by as quickly as a memory of a dream), than most films can hope to achieve in their entirety.
Bi Gan is a director worth the attention.
Kaili Blues - 8/10. Long Day's Journey into Night - 7/10.
But everything from that long tracking-shot up to and including the ending (what a final shot!) is something unlike anything I've ever experienced before in film. Like a future or long-past memory being made and enacted in real-time.
We follow a handful of characters as they move about a small town in rural China, the camera switching seamlessly between them in an act of mesmerizing cinematography, no matter how they are travelling or however relevant they may seem to be to the mediocre plot. As this happens, we begin to familiarize ourselves with the location almost to the point that we could map it out, if we had to. You start to feel as though this town is a place you have actually (but only briefly) visited as a tourist who will go on to look back on the time spent there with bittersweet nostalgia. The people, the place. All of it. It has a personality of its own, but calls upon some of your own memories of places and people you remember well, but don't truly know all that well. Just as a tourist would remember but not know the people and places from his transient experiences with them.
Never have I felt so much of a connection to a location in a film, to the point where it practically feels like a real-life experience of my own.
All this might sound very wanky, which is something I was going to accuse the film of being until it reached this part of the film. It won't be the kind of movie that everyone will enjoy, and I'm not even sure I can recommend it.
I'm not entirely sure I understand the film's overall message. And I'm not even quite sure I want to, as it may take away from my very personal journey that it took me on. I probably won't even re-watch this film. Just as you can't relive memories so vividly. That said, just like Bi Gan's more recent film (Long Day's Journey into Night), it clearly plays around with the ideas of memory and dreams. Though I think Kaili Blues is more of a challenge to understand, with all the wanky poetry, cultural differences and references to "wild-men" urban legends.
Some great films can be ruined by a scene, whereas other films such as this, could be elevated from mediocrity to something fresh, exciting and beyond words.
Overall, Long Day's Journey into Night is a far better structured film, with a much more interesting protagonist and plot, but the flawed masterpiece of Kaili Blues manages to achieve something far more significant in its last 55 minutes (that goes by as quickly as a memory of a dream), than most films can hope to achieve in their entirety.
Bi Gan is a director worth the attention.
Kaili Blues - 8/10. Long Day's Journey into Night - 7/10.
A "hangout movie" but you're not sure if you really want to be there (or anywhere). There are boogeymen sprinkled throughout Bi Gan's debut feature film that are never seen: hairy "wild men" who live in the forests, gangs who do violent things like cut off people's hands before burying them alive. But it's the evils in plain sight (isolation, sadness, aging) that we really need to watch out for. At times, the film's slowness feels forced, and it's constant allusions to clocks/time kind of beat that metaphor to a pulp. But it's none the less a solid first feature from a budding Chinese director.
I was recommended to watch this film by a very good friend of mine who has the similar tastes on movies and literature and other kinds of art. He recommended me to see the short film Jingang Jing by Gan Bi. Yes, the short is good too, and has some kind of connection with Lu bian ye can. Back to the movie, it is the way he talk the story and shoot the film which makes me surprise and enjoy. When graduated from film Academy, Gan Bi became a video guy for weddings, and thanks to the wedding films experiences, he used the skills to this movie and the long dizzy shot brought me the climax of wander and fly. As a young director, this movie is a little immature to me, and to be honest, I enjoy this feeling.
Your mileage may vary depending on which direction the trains and time are flowing. Curious to see bi-lingual Mandarin/English reviews, I tried to pause on the poems voiced over during the film, but too often they washed over me like the constant flow of water through-out.
The film is both heavy on symbolism, as well as strongly rooted on the earth, specifically the territory in the Guizhou Province, which apparently looks both rustic and post-industrial. Another review mentioned vehicles that fail that is a good metaphor for the film, but the viewer does travel with this film, if not where one might expect.
I am curious if the language ends up being a bigger tipping point to what is at play here. The blurring of characters/time perhaps indicated by key phrases or tenses. Or even in tense phrases, the scene in the make-shift salon where our Dr. Hero gets his haircut felt unsettling in an interesting way. And I wasn't even the woman giving the good Dr. his trim.
Besides the much discussed long single shot, so much fascinating tracking done (presumably by quite and highly reliable motorcycles) and great projected images at times.
Again I remain curious if this feels foreign to even folks familiar with the physical, if not emotional territory covered. I look forward to more films from Gan Bi after this auspicious beginning.
The film is both heavy on symbolism, as well as strongly rooted on the earth, specifically the territory in the Guizhou Province, which apparently looks both rustic and post-industrial. Another review mentioned vehicles that fail that is a good metaphor for the film, but the viewer does travel with this film, if not where one might expect.
I am curious if the language ends up being a bigger tipping point to what is at play here. The blurring of characters/time perhaps indicated by key phrases or tenses. Or even in tense phrases, the scene in the make-shift salon where our Dr. Hero gets his haircut felt unsettling in an interesting way. And I wasn't even the woman giving the good Dr. his trim.
Besides the much discussed long single shot, so much fascinating tracking done (presumably by quite and highly reliable motorcycles) and great projected images at times.
Again I remain curious if this feels foreign to even folks familiar with the physical, if not emotional territory covered. I look forward to more films from Gan Bi after this auspicious beginning.
I ended up going alone for Kaili Blues for a 10 PM screening at the Mumbai Film Festival 2015. In accordance with standard procedure, I entered the cinema hall baked and ready to enjoy what my cousin described the night before as simply mesmerizing. At first, the theme of the film is familiar. It is essentially a mission to rescue someone (Weiwei) whom the protagonist (Chen) loves. As the film progresses, it takes on an increasingly surrealistic tone, almost losing its way from reality into the imagination of Chen as he travels the hills of China in search of his beloved nephew. The highlight of Kaili Blues is its cinematography. But there is a directorial element that I absolutely adored; the extended shots! Almost reminiscent of Birdman or a Tarantino film, the camera effortlessly follows our hero on bike, foot and boat uninterrupted, as he experiences his past, present and future. I wish this film all the best and hope it releases in a cinema near you!
क्या आपको पता है
- ट्रिवियाThere is a 40 minute long take in the film.
- साउंडट्रैकFarewell
Composed by Li Taixiang
Lyrics by Li Gedi
Performed by Li Taixiang & Tang Xiaoshi
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is Kaili Blues?Alexa द्वारा संचालित
विवरण
बॉक्स ऑफ़िस
- बजट
- CN¥2,00,000(अनुमानित)
- US और कनाडा में सकल
- $32,164
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $4,164
- 22 मई 2016
- दुनिया भर में सकल
- $9,48,586
- चलने की अवधि1 घंटा 53 मिनट
- रंग
- पक्ष अनुपात
- 1.78 : 1
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