Di Qui Zui Hou De Ye Wan (Long Day’s Journey Into Night)

What a film! The style over substance case is pushed into the pro section in the yellow pad.

Bi believes in the physicality of the storytelling. Visually, the writer and director, Gan Bi may hide plenty behind the curtain but it certainly oozes sexiness like I haven’t seen in films, lately. Split into two acts, the first one has an inspiring filmmaking style to learn from. In each frame the world seems resisting or rushing towards something. It is perpetually vibrating and sensibly the camera are told to be still. This attention towards peace isn’t forced but calls for it with a disturbing behaviour. Tricking us into believing how edgy or shady or abnormal the acts are. The food eaten isn’t enjoyed or dives are taken dutifully instead, luxuriously.

There is often something flowing, blinking, moving, rotating, floating, burning, humming or blowing behind the staged set. This metaphor of continuation or even capturization is also transferred, latter, into audio. And when the camera stands still, the close up of someone’s face mourns, silently. Now, this tells you how difficult it could be to go through a process like such. Yet, you are hooked, intrigued by not the mystery it spirals out but the romance.

The romance between the objects around it, a clock or a letter or a photograph or a book or a glass of water or a even a bat. Now as much as hefty this first act is, the second half is equally lofty and light on its feet. And I might not be the proper observer to scale that part of the film. I am gullible for one take shots. And imagine my feeling when I hit this gold mine that lasts for more than an hour. No matter how many detours then is taken I don’t want this Long Day’s Journey Into Night to end.

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