Chicago Reader review:
Gorgeously designed and formally audacious, Bi Gan’s second feature (after Kaili Blues)
is constructed around an hour-long tracking shot originally filmed in
3-D. This sequence, which occurs in the second half of the movie, takes
viewers on quite a ride, both literally and metaphorically, as Bi moves
the camera freely through space and presents clever ways to translate
the language of dreams into cinema. (As dream-narrative films go, it’s
as distinctive an achievement as The Blood of a Poet, The Discreet Charm
of the Bourgeoisie, or Eyes Wide Shut.) Before that, though, this is
basically a mood piece; the scant plot concerns a detective (Huang Jue)
searching for a missing woman whom he hasn’t seen in years. Bi creates a
strong atmosphere out of familiar detective-movie and melodramatic
elements, thanks largely to the inventive camerawork and charismatic
performances (the cast also features Tang Wei and Sylvia Chang). My
colleague Scout Tafoya has likened this to a Disney theme park
attraction based on the films of Wong Kar-wai, and I’m inclined to
agree.
Ben Sachs
Here (and above) is the trailer.
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