Cinema Scope Mag for film reviews, criticism news & comments. Publicité | Like Kelly Reichardt or Tsai Ming-Liang, Bi finds a majestic intimacy and wonder in stillness. More →, Blood of My Blood (Marco Bellocchio, Italy), The Act of Living: Gianfranco Rosi on Notturno, Reconstructing Violence: Nicolás Pereda on Fauna, The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), DAU. Untangling the narrative endoskeleton isn’t easy, but it is also far from what Bi Gan’s film is “about.” What is it about, then? Mais un jour, lâun dâentre eux, Chen Seng, décide dâaccomplir la dernière volonté de sa mère décédée et sâembarque pour un périple en train à la recherche de lâenfant que son frère a abandonné. We never find out. In Bi Gan’s remarkable debut, winner of Best New Director prizes at Locarno and the Golden Horse Awards, it seems that only dreamers like Chen can see what’s real. How can Chen, who has come to Zhenyuan to look for an eight-year-old nephew, find an 18-year-old future version instead? How can his wife return from the dead? We’re in one place—an obscure little corner of small-town China today—and we’re everywhere, unbounded, set free to wander in a single shot, in a dream without limits. Profitez des conseils de FemininBio.com. document.write ('&cb=' + m3_r); The camera will often languorously pan in a room, only to settle and observe some small action (e.g. var m3_r = Math.floor(Math.random()*99999999999); document.write ("?zoneid=25"); Le travail virtuose de la caméra n’est pas anodin, car il nous plonge dans une séquence hyperréaliste et surréelle en même temps — une séquence dont les annales du cinéma vont certainement parler pour longtemps. It’s exhilarating, it’s tension-filled, and it feels impossible. Kaili Blues, qui est également un hommage passionné à la région de Kaili, est un film d’une rare beauté, car la poésie dont il est chargé ne plane pas au-dessus, mais jaillit de l’intérieur d’une réalité racontée à partir de l’intime du quotidien. Notre entretien avec le réalisateur, Bi Gan. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. Actualité cinéma DVD. He never confronts these characters about their uncanny resemblance to the people in his own life, instead treating the whole experience with the serene satisfaction of a waking dream. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. With Yongzhong Chen, Yue Guo, Linyan Liu, Feiyang Luo. Every place, person, and thing in Kaili Blues seems to be coming from the same subconscious, mapped in circular movements and detours that build to Bi’s pièce de résistance: a 41-minute unbroken shot that follows Chen on an odyssey through a village, on foot and hired motorbike, pausing for a haircut, a trip to the tailor, a public music performance, and assorted encounters with locals who seem to be refractions of the ex-con’s past or doubles of people he’s known. Ce mélange de tons est surprenant et permet surtout d'aborder le réel autrement. This is a long take that feels long, in a viscerally exciting way. Ex. Kaili Blues prend rapidement ses distances avec le drame social chinois réaliste auquel on est davantage habitué et le surréel s'invite dès le générique de début diffusé... sur un écran de télévision, posé dans le cadre. 'https://partenaire.palpix.com/www/delivery/ajs.php':'http://partenaire.palpix.com/www/delivery/ajs.php'); '&charset='+document.charset : (document.characterSet ? Au temps, on ne peut que s’abandonner. Directed by Bi Gan. Et puis il y a celui, incroyablement beau, en forme de lévitation poétique, qui prend place dans le film durant une quarantaine de minutes. if (document.mmm_fo) document.write ("&mmm_fo=1"); That we experience mind, feeling, and the world through time—exactly as cinema can only record and present these through time—is what perhaps makes it unattainable. Kaili Blues is more a tone poem than anything else by the end. Copyright © 2000-2011 FilmDeCulte.com - Mentions lŕgales - Crédits FilmDeCulte/Palpix. The poems are in fact Bi Gan’s, from a collection titled Roadside Picnic (Lubian yecan), which is the Chinese title of Kaili Blues, after Bi’s original title (Huang ran lu, the Chinese name of Pessoa’s The Book of Disquiet) was rejected by censors as too downbeat. Rather, much of the action is devoted to Chen’s journey to Zhenyuan to find and return Weiwei, and deliver a tape and letter to the family friend’s lost flame. Voilà, un déclic dans mon esprit fait jaillir une interprétation qui me semble convaincante : le trip de la longue séquence est le voyage dans la réalité, d’autant plus réelle qu’elle est semblable à un rêve. […] Nous nous trouvons clairement dans un territoire hybride, entre réel et imaginaire, entre prose et poésie, entre vérité et rêve. Bi and cinematographer Wang Tianxing have an acute sense of space, dimension, and especially lighting. The sequence, which takes up over a third of the movie, doesn’t look a lick like the rest of Kaili Blues and is as maddeningly ambitious—orchestrated with breathtaking changes in direction and a community’s worth of nonprofessional actors—as it is technically imperfect. But this is not just another screed against contemporary life; it finds a cruel beauty and gentle soul in the transition between elemental landscapes and the unfinished, industrialized future. Là , un flash-back délicat s'immisce dans la narration. Mixing the mundane and the mystical (unexplained recurring motifs, reports of “wild men” living in the forest, etc.) Too many direct, cookie-cutter resistance narratives pop out like readymade art-politics products and, sometimes, all too easily find resonance in non-Chinese markets and societies. Tous deux sont tournés vers le passé, ils cherchent à corriger les défauts, à mettre de l’ordre. Kaili Blues (路边野餐 en chinois, Lù biān yě Cān en hànyǔ pīnyīn, littéralement pique-nique au bord de la route) est un film chinois réalisé par Bi Gan, sorti en 2015.. C'est le premier long métrage de Bi Gan. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Bi, after all, is still in his mid-20s. L’absence des femmes, aussi : il y a une mère perdue, dont le deuil et l’héritage animent le conflit entre les deux frères, et il y a une femme disparue, qui a laissé son enfant, Wei Wei, à un père irresponsable. Kaili Blues raconte le rite initiatique et mystique d'un médecin parti à la recherche de son neveu. Politique de cookies | women pouring boiling tea into a small kettle), or, in the most casually surrealistic moment, a projection of an upside-down train that appears to crash through a small apartment like Lumière in miniature. While travelling the countryside to locate his nephew, a small town doctor … Cette mise en abyme comme une mise à distance du réel se retrouve tout au long du film qui mêle le quotidien à la mémoire, la présent au passé, les souvenirs et ce qu'on en fait aujourd'hui, et le temps que les personnages essaient de remonter. But that’s partly the nature of the pacing, which spends nearly 45 comfortably meandering minutes in one location before quickly wrapping up each of the story’s loose ends right at the conclusion. - Contacts - Recrutement - Publicité / Annonceurs - Conditions d'utilisation du site C'est "comme dans un rêve" entend-on lors de Kaili Blues. He encounters a young man, also called Weiwei, with a bucket on his head, having been bullied by rival motorcycle drivers. This dilemma has a specifically temporal dimension. Presumably, this is the journey of a mind haunted by loss, abandonment, and regret. Gan Bi construit un langage tout simplement poétique, fait d’associations hardies, exactement comme les beaux poèmes qui sont récités de temps en temps, et viennent rythmer la narration avec la cadence d’un blues au refrain halluciné. Later, he heads to Zhenyuan where further plot nodes solidify, the watchmaker reappears, and time starts rolling backwards. Il s’agit surtout d’un discours d’images : plans fixes où cueillir latéralement les événements, longues séquences où la caméra tourne lentement (à la Angelopoulos) pour embrasser un panorama de scènes multiples.
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