Diqiu zuihou de yewan

Everyone reading this review, please forgive me for my perhaps strange sounding english, I'm from and currently lives in China.

I saw this film today at a Local Cinema, in Dongguan, I must say I feel very fortunate having seen this, and also Jia Zhang Ke's "Ash is the Purest White" in Cinema, normally in China, we only screen Popcorn Films, but never Art films. I heard about Longest Day's Journey into the night a long time ago, when I found out this Chinese movie was competing for 2018's Cannes Un Certain Regard! By the way, the chinese name of the film, "di qiu zui hou de ye wan", actually means Earth's Last Night, or Last Night on Earth, what an awesome name!

Words cannot describe what this movie is like, or how awesome it is, At least this is so for me, I simply cannot do it with words, but I believe this actually proves how good this movie is, since if words can describe it, it wouldn't have accomplished its goal, the goal of motion picture, as a medium of art, is to express something that language cannot express, just like Beethoven's Symphonies, or Monet's paintings.

Many People won't understand this movie, because they're not Chinese, they don't understand how the subtle details in this movie reminds us of our country, and even if chinese audiences are watching it, like the few that watched it with me tonight, won't get it, because most Chinese people have almost no exposure to Art House Cinema, they usually watch 3 types of movies, Hollywood Action Flicks, Romantic Comedy, or Horror, that's it.

The Film Score in this movie is also awesome, Bela Bartok wanted to write Hungarian Themed Muisc in the western classical fasion, the soundtrack in this movie is somewhat like Bartok's, they have the same goal, this movie's music comprise of Electronic Music featuring themes in the style of music from China's minor ethnic cultures, this, plus the hour long single take dream sequence, make this film so rare a work of art, that it deserves to be charished.

Despite the dream-like scenes, and experimental techniques, the film actually captured realistically what contemporary rural china is like, which is rare, but it's nothing like our urban areas right now, if anyone wants to see a good film featuring modern china's major cities, I suggests the Chinese TV Comedy Drama: "Pretty Li Hui Zhen", it's very cheezy and childlish, but the portrayal of Shanghai is very realistic!

Thanks for reading!

Ni Guang Xin

Caution...do not watch this movie if you're already sleepy, like I was.

I'd read enough about this film to know not to try too hard to understand it and just go with the flow. But even at that, I feel like I didn't figure out how to watch it until about the half-way mark....which is when the film's opening title appears on screen, if that gives you some idea about what to expect.

Those who become frustrated with this aggressively non-linear film may be tempted to dismiss it as a bunch of random disconnected scenes that don't add up to anything. Actually, I think the movie is very carefully constructed, using visual and thematic motifs (like apples, for instance) to connect one part to another. It's as close to a visual poem as you'll find short of an outright experimental film, where recurring images and sensations replace narrative storytelling.

It's a movie that I would probably get more out of by watching multiple times, when I can focus less on trying to figure out what's happening and more on the little clues dropped here and there to guide the viewer on his merry way. But here's the thing....this movie didn't pull me in enough the first time to make me want to put the energy into watching it again. It tries for dreamy, hypnotic, and romantic, but it only succeeded in being one out of the three for me, and there was something sort of coldly formal about it. Take, for example, the oft-mentioned final hour of the film, which unspools as one crazy complicated long take (and apparently was in 3D in the theater). It's impressive for sure, but it's also a stunt. I found myself paying attention to the technical considerations that went into pulling it off rather than anything really happening on the screen. And the whole movie is kind of like that. It didn't leave me puzzling over its enigmatic mysteries. It left me wondering "hmmm....wonder how they did THAT."

Grade: B+

I had a hard time following the first half of the movie, it felt more like shattered memories than cohesive story/narrative. It felt to long although it had it's moments like the karaoke part... Then that one hour long take came and it blew me away. The camerawork and visuals in this movie are astonishing, it added to that hypnotizing feeling of the whole movie. With few rewatched the rating might go up!

This film (which bears absolutely no resemblance to the well-known play with which it shares a title) is first and foremost an art film. Rather than containing a logical story, it is more about mood, tone, and memory. But it captures those things about as well as any film ever has.

It borrows a great deal from previous films in the art genre, including THE MIRROR as well as the films of Wong Kar-wai and Apichatpong Weerasethakul. So if you enjoy those kinds of films, this one is for you. It also has one of the best dream sequences of all time. Recommend for fans of Asian art films.

I was ten years old in 1953 during the first heyday of 3-D movies. In the years since the novelty wore off, I have been sadly disappointed how few and far between memorable ones have been. WINGS OF COURAGE, POLAR EXPRESS, HUGO, AVATAR, THE FINEST HOURS and this film are pretty much the lot. Nevertheless, there is ubiquitous movie house 3-D capability, and lots of cheesy up-conversions of films made neither in nor for 3-D to occupy them. Alas, serious film makers have generally concluded that 3-D adds too little value to be worth the trouble.

LONG DAY'S JOURNEY is a live action evocation of a Munga-style comic. The second half is a dream sequence, set apart by what must be the first 3-D ever done with steady-cam. The story and characters did not particularly resonate with me. The many filmgoers who have never had the opportunity to see the "classics" of 3-D properly exhibited can recapture a good deal of the excitement here.