Podcasts about Bi Gan

It's our 3rd episode on the 2025 Cannes Film Festival as we discuss award winners like It Was Just An Accident and Sentimental Value. Plus, we enjoy awards talk on Highest 2 Lowest, The History of Sound, etc. CANNES FILM FESTIVAL COVERAGE PART III: Palme D'or Winner - It Was Just An Accident - 1:47 Sentimental Value gets a 19? Minute Standing Ovation - 8:06 Recapping other winners like The Secret Agent - 16:30 The Young Mother's Home wins Best Screenplay for the Dardenne Bros - 18:15 Resurrection from Bi Gan - 19:23 The Little Sister wins best Actress - 20:21 Highest 2 Lowest Oscars Talk - 22:55 A Private Life and Splitsville are comedies getting strong reviews - 29:58 The Mastermind from Kelly Reichardt - 33:48 Alpha from Julia Ducournau - 36:55 The History of Sound from Oliver Hermanus - 39:35 Eleanor The Great from Scarlett Johansson & June Squibb - 42:10 Un Certain Regard Winner - The Mysterious Gaze of the Flamingo - 44:32 Pillion + Urchin wins several + this year's Palme Dog section - 45:35 A Cannes Acquisitions Summary makes the Neon/Mubi rivalry a real thing - 47:31 The Standing Ovations Tally from MMO - 50:20 Best International Films Possibilities - 51:35 OUTRO - What's coming next from us includes more Oscar Race Checkpoints and Oscar Profile Reviews. Plus, we'll be sending out the Bat Signal soon to a returning guest. Otherwise… and as always, we want to hear your thoughts on which films you're most excited to see from Cannes. https://linktr.ee/mikemikeandoscar

Ep. 323: Jessica Kiang on Bi Gan's Resurrection and Kelly Reichardt's The Mastermind Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I'm back at the Cannes Film Festival to talk about the highlights with another all-star cast of guests. This episode I sat down with Jessica Kiang who kindly gives virtuosic readings of two standouts from late in the festival: Resurrection (directed by Bi Gan) and The Mastermind (Kelly Reichardt), plus some thoughts on what films she'd like to see win awards. Kiang is as usual writing reviews for Variety at Cannes; she is also programmer at Belfast Film Festival and a member of the selection committee of the Berlinale. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Cannes 2025 is wrapping up this weekend—and our intrepid on-the-Croisette crew of Film Comment contributors has been high-tailing it from screening to screening, cutting through the noise with a series of thoughtful dispatches, interviews, and podcasts. For our ninth episode from the sunny shores of southern France, all-star critics Justin Chang, Tim Grierson, and Allison Willmore join Editor Devika Girish for our final on-the-ground panel conversation from this year's edition. The four dig into two of the most anticipated films from the festival's later days, including Bi Gan's Resurrection (4:30) and Kelly Reichardt's The Mastermind (26:10), before touching on some heretofore undiscussed competition selections: Wes Anderson's The Phoenician Scheme (45:00), Saeed Roustayi's Woman and Child (46:25), the Dardenne Brothers's Young Mothers (50:40), and Mario Martone's Fuori (1:02:05). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics Abby Sun, Beatrice Loayza, and Giovanni Marchini Camia to discuss some late-festival premieres, including Joachim Trier's Sentimental Value, Carla Simón's Romería, Oliver Hermanus's The History of Sound and Nadav Lapid's Yes. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

On today's show, the 78th annual Cannes Film Festival has kicked off in the south of France, so Derick and I will discuss some of the films competing for the coveted Palme d'Or prize. But, before that we will get into some film and tv news, do some what we've been watching, and finish up with our Letterboxd assignments.Write into the show at MidnightFilmSociety@gmail.com and @midnightfilmpod on Threads, Instagram and Bluesky. Subscribe on Pocketcasts, YouTube Podcasts, and Spotify. Rate and review it on Apple Podcasts. Tell a friend, family member, or stranger.HBO Max RebrandSuperman, Alien Earth, The Bear S4 Trailers78th Cannes Film Festival; Richard Linklater, Lynn Ramsey, Wes Anderson, Bi Gan, Christian Petzold, Julia Ducournau, Kelly Reichardt. Secret Agent, Full List Of Film Competing For Palm d'Or Film Comment Cannes CoverageWhat Damian's Been Watching: Andor, Thunderbolts*What Dereck's Been Watching: A Minecraft Movie, Thunderbolts*, Fight or Flight, Final Destination Bloodlines, AndorNew Letterboxd: Dericks Almost FamousLetterboxd Assignments: Damian - Kaili Blues, Derrick - The Right StuffFor next time: May 23rd - More Last Of Us, Love Death Robots, Mission: Impossible – The Final Reckoning, Lilo & Stitch, Friendship May 30th: Karate Kid: Legends, Bring Her Back, The Phoenician Scheme, May 30th: MountainheadCheck out Dericks Socials HereCheck Out Damian's Socials Here

Hoy se ha fallado el Premio Princesa de Asturias de las Artes, y precisamente la gala de entrega de estos premios fue la que plantó la semilla de 'El guitarrista de Montreal', la última novela de Manuel Barrero editada por Galaxia Gutenberg. Todo comenzó cuando el autor cubrió la gala de los entonces Premios Príncipe de Asturias, celebrada en 2011, año en que Leonard Cohen recibió el galardón de las letras. La figura del músico canadiense y la atmósfera del evento quedaron grabadas en la memoria de Miguel Barrero, y más de una década después se han convertido en el eje de su nueva obra.Desde Cannes, Conxita Casanovas nos informa de los últimos títulos que se proyectan en el Festival Internacional de Cine. El director chino Bi Gan presenta 'Resurrection', mientras que el iraní Saeed Roustaee llega con 'Woman and Child'. Cate Blanchett también ha sido vista en la ciudad del cine, aunque el foco del día está sobre los hermanos Dardenne, que desfilan por la alfombra roja con 'Jeunes mères'. Ganadores ya de dos Palmas de Oro, su regreso genera gran expectación.El paseante de Jesús Marchamalo nos lleva hoy al encuentro con Enric Satué, historiador, académico y uno de los diseñadores gráficos más importantes de nuestro país, reconocido con el Premio Nacional de Diseño. Su último libro, 'El príncipe de la imprenta', repasa una vida dedicada a la historia del diseño editorial.La sesión musical de Leyre Guerrero nos traslada al Museo Reina Sofía, donde Radio 3 celebra el Día de los Museos con 17 horas de música en directo y más de 30 actuaciones.Escuchar audio

durée : 00:08:55 - Les Midis de Culture - par : Lucile Commeaux - Nos critiques discutent de "Résurrection" de Bi Gan. Pour son troisième long-métrage, le réalisateur chinois mêle des esthétiques multiples avec grandiloquence, dans un monde postapocalyptique. - réalisation : Laurence Malonda, Anne-Laure Chanel - invités : Raphaëlle Pireyre Critique de cinéma, elle publie régulièrement des articles sur le site AOC; Yal Sadat Journaliste et critique de cinéma

durée : 00:27:11 - Les Midis de Culture - par : Lucile Commeaux - Au programme de ce débat critique consacré au cinéma, en direct du 78ᵉ festival de Cannes, deux films, un bilan et des pronostics, avec "Yes" de Nadav Lapid et "Résurrection" de Bi Gan. - réalisation : Laurence Malonda, Anne-Laure Chanel - invités : Raphaëlle Pireyre Critique de cinéma, elle publie régulièrement des articles sur le site AOC; Yal Sadat Journaliste et critique de cinéma

C'est le neuvième jour du journal de bord d'Alex Masson au Festival de CannesVoilà, c'est l'heure de remballer. Cannes, c'est bientôt fini pour cette année. Demain midi, le jury se réunira en conclave pour décider du palmarès décerné le soir même. Pour le moment, la Croisette bruisse donc des pronostics qui seront sans doute déjoués comme l'an dernier lorsque la palme d'or fut remise à la surprise quasi-générale à Anora. Autant donc être prudent avec la boule de cristal et prendre un peu de hauteur sur cette édition. Qu'en retiendra-t-on ? Une compétition de haute volée, supérieure en termes de mise en scène à la précédente, au point d'avoir surplombé voir écrasé des sections parallèles nourries de films recommandables, mais sans révélation majeure ni film marquant. Mais aussi que parmi ceux en lice pour la palme, les trois plus attendus (ceux d'Ari Aster - Eddington-, Julia Ducourneau -Alpha- et Saaed Roustaee – Woman and Child) pour renouveler l'habituel cheptel auront été des opus décevants.À en croire la vox critica, le haut du panier serait composé des films de Kleber Mendonça Filho (L'agent secret), Jafar Panahi (Un simple accident) et Oliver Laxe (Sirat). Du moins jusqu'à la présentation hier soir de Resurrection. Tissage de segments dédiés chacun à un sens, le film de Bi Gan veut surtout renouer avec celui du cinéma dont il fait littéralement son moteur pour une expérience sensorielle aussi virtuose que folle, aux airs de somme et réinvention du 7eme art. Et s'il reste encore deux candidats (Jeunes mères des Frères Dardenne et The mastermind de Kelly Reichardt) a être projeté ce matin, on ne voit pas comment Resurrection pourrait ne pas gravir les plus hautes marches du palmarès. Ou alors cette peu tapageuse 78eme édition tiendrait son seul scandale.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Notre critique du film "Resurrection" réalisé par Bi Gan avec Jackson Yee, Shu Qi et Mark Chao. Ce film est présenté en Compétition au Festival de Cannes 2025.Abonnez-vous au podcast CINECAST sur la plateforme de votre choix : https://smartlink.ausha.co/cinecast   ---   Titre : ResurrectionSortie : prochainementRéalisé par Bi GanAvec : Jackson Yee, Shu Qi et Mark ChaoSynopsis : Dans un monde où les humains ne savent plus rêver, un être pas comme les autres perd pied et n'arrive plus à distinguer l'illusion de la réalité. Seule une femme voit clair en lui. Elle parvient à pénétrer ses rêves, en quête de la vérité…#Resurrection #Cannes2025 #CINECASTHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Cannes 2025 is in full swing—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our seventh episode from the film world's grandest event, Film Comment Editor Devika Girish is joined by critics Kong Rithdee (back by popular demand!) and Inney Prakash to debate two recent premieres from legendary auteurs: Jafar Panahi's It Was Just an Accident (2:33) and Lav Diaz's Magellan (14:12). Next, the group discusses one of the highlights of this year's Cannes Classics section, T'ang Shu Shuen's 1968 film The Arch (23:14), before turning to Ratchapoom Boonbunchachoke's A Useful Ghost (29:09), which just won the Grand Prize at Cannes Critics' Week. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition. Note: Around 18:00, we experienced some equipment problems that resulted in slight glitches on the audio track. We apologize for the inconvenience.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our sixth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics and FC stalwarts Miriam Bale, Robert Daniels, and Jessica Kiang to discuss their recent viewing at the fest, including Spike Lee's Highest 2 Lowest, Julia Ducournau's Alpha (23:09), Akinola Davies Jr.'s My Father's Shadow, and Hlynur Pálmason's The Love That Remains (49:25). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critic Kong Rithdee and scholar Neta Alexander to discuss some of the most highly anticipated premieres to screen to date, including Christian Petzold's Mirrors No. 3 (2:30), Sebastián Lelio's The Wave (16:50), and Kleber Mendonça Filho's The Secret Agent (27:14). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fourth episode from the sunny shores of southern France, Film Comment contributor Mark Asch and critics Kong Rithdee, and Isabel Stevens join Editor Devika Girish to discuss some of the festival's buzziest titles, including Kristen Stewart's The Chronology of Water (3:35), Lynne Ramsey's Die My Love (12:00), Richard Linklater's Nouvelle Vague (29:22), and Harris Dickinson's Urchin (40:35). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our third episode from the sunny shores of southern France, Film Comment contributors Mark Asch and Beatrice Loayza join Editor Devika Girish to unpack two of the most go-for-broke selections to screen so far—Oliver Laxe's Sirât (2:25) and Ari Aster's Eddington (21:20)—before turning to the more modest charms of Hafsia Herzi's The Little Sister (41:20). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our second Podcast from the French Riviera, Isabel Stevens and Thomas Flew from Sight and Sound sit down with Film Comment Editor Devika Girish to discuss Mission: Impossible – The Final Reckoning, the purported final installment of the long-running action series. To set things up, Isabel talks about her recent career-spanning interview with Tom Cruise, the cover story of the latest issue of Sight and Sound, before the group leans into the high-octane pyrotechnics of the film. Next, they turn to two other hotly anticipated premieres: Two Prosecutors (19:55), from Ukrainian auteur Sergei Loznitsa, and Left-Handed Girl (32:20), directed by longtime Sean Baker–collaborator Shih-Ching Tsou. Subscribe today to the Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has at last arrived—and while news of standing ovations and walkouts, throwaway raves and pans, spit takes and hot takes flood your feed, you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. To kick off our patented daily Cannes Podcasts, Film Comment Editor Devika Girish gathered FC Podcast veterans Jonathan Romney and Guy Lodge to discuss the first day's offerings. Jonathan begins by describing the Opening Night selection, Amélie Bonnin's Leave One Day (7:00), before the group debates other early festival premieres like Robin Campillo's Enzo (11:20) and Mascha Schilinski's Sound of Falling (22:17).

Hello friends! Dustin keeps our 2018 retrospective rolling along in true Dustin fashion. This week, we look at Bi Gan's 2018 dream noir Long Day's Journey into Night. What's real? What's fantasy? What does ping pong have to do with any of it? We try to get to the bottom of all of that as we talk about this art house gem from 2018. Tuen in now! TIMESTAMPS 00:30 - Introductions and Synopsis 07:27 - Quick Long Day's Journey into Night Reviews 23:54 - Expanding the Syllabus 41:50 - Analysis 58:10 - Shelf or Trash 1:02:15 - Wrap Up and Next Week's Film

Olhamos para trabalhos criados no contexto do 50º aniversário do Festival de Gent. Arnaud Rebotini e Helena Wittman; Evgueni Galperine e Bi Gan. A matéria da sensualidade material - e cada um à sua maneira.

Anya solo reviews 3 features and 1 short film playing in the 2023 Sundance Film Festival, with films from Bi Gan, Celine Song, Mary Helena Clark, and more.

An insightful conversation on a film that's difficult to grasp in terms of plot but which nonetheless offers us enough to have returned twice more to see it. In the podcast, we discuss the famous 59 minute tracking shot, how the film shifts gears narratively and stylistically; how the first half may deal with memory and the second with dreams; we talk of the film's texture, how sound often works against image and how the images themselves are precise and controlled; we relate the film to noir (time, rain, vamps, fedoras, its evocation of BLADE RUNNER). We relate the film to the work of Jia Zhang Ke and Tsiai Ming Lang; and we talk of how it's a film that may leave audiences initially puzzled but that seems to grow in their estimation as discussion unfolds. All this, and much, much more.

On today's episode of Gaybros Dive into Quiet Beauty through Magic Realism (and some other pompousness), we talk about Long Day's Journey Into Night (2018) by Bi Gan

Jeder hat sie und jeder ist stolz darauf sie zu haben: Die Hidden Gems. Die Filme, die außer man selbst offenbar niemand zu kennen scheint und die man bei jeder Gelegenheit anderen ans Herz legt, weil man endlich jemanden haben will, mit dem darüber reden kann. Genau das wollen wir in unserer neuen Folge auch tun und teilen mit euch deswegen 6 übersehene, aber fantastische Filme aus aller Welt, die ihr auch ohne große Umstände sehen könnt. Die Filme findet ihr weiter unten in den Timestamps. Viel Spaß mit unserer neuen Folge "Projekt Chaos"! Bei Anregungen, Kritik oder Wünschen: schreibt uns gerne via projektchaosderfilmpodcast@gmail.com! Fynns Film "Lest You Forget" auf YouTube: https://www.youtube.com/watch?v=gL1LTdVAhDM Jakob auf Letterboxd: https://letterboxd.com/jakobob/ Patrick auf Letterboxd: https://letterboxd.com/Patrick_K/ * Dieser Podcast verwendet Tonmaterial. Dieses Material wird nicht kommerziell genutzt. Die Rechte verbleiben bei den Inhaber*innen. Timestamps: (0:00) Begrüßung (1:16) Shoutout: Fynn Benkerts Film "Lest You Forget" auf YouTube (1:42) Was sind vergessene Filmperlen und wo kann man sie finden? (13:22) Kaili Blues (2015) von Bi Gan (27:46) Der freie Wille (2006) von Matthias Glasner (43:53) Jin-Roh (1999) von Hiroyuki Okiura (1:03:03) Das weiße Rauschen (2001) von Hans Weingartner (1:20:03) Western (2017) von Valeska Grisebach (1:35:18) Nacht und Nebel (1956) von Alain Resnais

On this weeks episode of They Live By Film, Adam, Chris and Zach discuss two Asian films known for their loose narratives and surrealistic tendencies, Seijun Suzuki's comeback film, Zigeunerweisen, and Bi Gan's Long Days Journey Into Night. Link to the episode of Disc-Connected featuring Chris: https://www.youtube.com/watch?v=szfdj3oZOdA&ab_channel=Disc-Connected www.theylivebyfilm.com https://www.patreon.com/theylivebyfilm Adam's Letterboxd: https://letterboxd.com/TheOwls23/ Zach's Letterboxd: https://letterboxd.com/dharmabombs/ Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm/ www.instagram.com/theylivebyfilm/

This week we watched Long Day's Journey Into Night (2018) d. Bi Gan. It was quite an interesting movie and here is where we talk about it. Thanks for listening !

Under discussion this week is this gorgeous bit of absolute c i n e m a ; the second film by director Bi Gan starring Tang Wei and Jue Huang. Dreamlike, beautiful, technically off the chain, jaysus what's not to love? Next filmy: THE GREAT SILENCE, 1968

Fall Festival season gets closer and closer and with it comes those sweet sweet lineups baybee! We're talking Venice full line up, more TIFF additions, and the NYFF Centerpiece film that will be at all three fests,  Jane Campions Power of the Dog! ALSO in the second segment we are joined by returning favorite Eric Allen Hatch to discuss Bi Gan and his films Kaili Blues and Long Days Journey Into Night! Follow Eric on twitter @ericallenhatch Our twitter is @CannesIKickIt Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jpglickwebber

Bueno, por el título queda claro que la película de hoy la propuso JP y que tanto película como episodio estuvieron intensity

WELCOME Snobbies….to the end of a JOURNEY! It has been quite the trek that you've taken with us for our fifth and final film of the “Going on a Journey) podcast selection! This week we have Jared's pick as he chooses Bi Gan's unbelievable masterpiece, "Long Day's Journey into Night." In this film we discuss a variety of topic that include this filmmaker's style, his vision, and his unprecedented talent at only 28. We were absolutely blown away by this film and how its beauty just overtook us from the first moment. Join us as we talk about this incredible film and how it desperately needs to be seen by everyone RIGHT NOW. Enjoy! Film Discussed: Long Day's Journey into Night (2018) Letterboxd: Eric Peterson: letterboxd.com/EricLPeterson/ Jared Klopfenstein: letterboxd.com/kidchimp/ Ethan Jasso:letterboxd.com/e_unit7/ Caleb Zehr: letterboxd.com/cjzehr/ Ricky Wickham: letterboxd.com/octopuswizard/ Five start reviews left on the pod get read out loud!

Jane Zheng joins the podcast to discuss producing the critically acclaimed film, The Farewell (2019), and what it was like working on a bi-lateral crew helmed by Lulu Wang. In addition, she shares how she got started on her journey as a film producer and the differences between Minari & The Farewell. Stephen also gets a chance to ask Jane about her point of view on the new-age of Chinese filmmakers, including the recent art-house craze and filmmakers like Bi Gan.

Der erst 31-jährige chinesische Regisseur Bi Gan hat mit "Kaili Blues" & "Long Day's Journey Into Night" zwei Filme abgeliefert, die bei der internationalen Kritik Begeisterungsstürme ausgelöst haben. Haben wir den neuen Tarkowski gefunden? Oder sind seine fragmentierten Traumwelten, die sich auf einmal in unglaubliche Longtakes verwandeln, nur abgegriffene Gimmicks? Darüber diskutiert die Slow-Cinema-Expertin Nadin Mai mit Lucas und Christian in unserem Special.

Dzisiejsza historia, będącą onirycznym zagłębieniem się w ludzką duszę z elementami kina noir, jest jedną z najbardziej unikatowych perełek, jakie udało nam się do tej pory dla Was złowić! I choć jest to dopiero drugi film młodego chińskiego reżysera, to jest on najlepszym dowodem na bardzo dojrzałą już samoświadomość twórcy. Notatki:https://www.tmfpodcast.com/podcast/dluga-podroz-dnia-ku-nocy

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! LARGO VIAJE HACIA LA NOCHE / ULTIMO DIA EN LA TIERRA Vivimos en un mundo de imágenes. El texto ha pasado a ser complemento, interprete secundario, de un entorno comunicativo que se codifica en imágenes. No hay noticia si no hay imagen que enseñar. Poco importa que el argumento sea periodístico o venga de la mano del poeta más estricto. Ni siquiera la veracidad o la comprensión de las imágenes en cuestión importan demasiado. El órgano visual, el ejercicio de ver nos ha sometido una dictadura a la que ningún otro sentido puede derrocar. El desarrollo tecnológico ha hecho posible que las imágenes se comporten como una puerta abierta al territorio que se esconde en el otro lado del espejo. Lo de menos, para el hombre contemporáneo, es su capacidad de reproductor de la realidad. Lo que de verdad nos fascina es el deseo del otro lado del espejo. El cine está alcanzando su mayoría de edad en la relación con el gran público. Ya no depende de una sala oscura, ni de grandes pantallas. Superada la obediencia a los cánones, las imágenes se apoderan a pasos agigantados del acto narrativo, no como un añadido si no como dueñas y señoras del ejercicio expresivo. El subconsciente ama las imágenes, son el cemento con el que levanta sus altos edificios. El consciente, en cambio, se revela ante una falta de concreción, de límites inverosímiles que no comprende. Las nuevas narrativas juegan en un campo fronterizo y no tan “imaginario” como les gustaría. Al final, la imagen que muestra la pantalla sea grabada o prefabricada, debe mostrar algo concreto. Asistimos a un baile de máscaras en el que la verdadera imagen sigue viniendo de la mano del logos, que le da sentido, y no de la del ojo enamorado de colores y formas en cuyos brazos cae rendidos en cuanto estos empiezan a moverse. El nuevo entorno internáutico nos ha hecho transeúntes de autopistas que nunca paran y en las que las imágenes lo son todo. Tardamos dos segundos en ver una imagen para cansarnos de ella y buscar desesperadamente la siguiente. La vieja división de una narrativa en 3 actos con personajes que dialogan, con desarrollos argumentales que se van desenvolviendo a medida que avanza la narración han perdido su sentido. Se diría que el mismo hecho narrativo está perdiendo sentido en una sociedad que solo está interesada en coleccionar visiones. Los nuevos creadores lo saben. Tarantino añadió un importante capítulo a una experiencia narrativa con la que ya se había atrevido Kubrick y de la que Pulp Fiction vino a tomar el relevo. Bi Gan no hace más que sumarse a una larga lista de directores que, de un modo u otro, van alimentando el libro de los nuevos modos de contar a los que nos enfrentamos, donde las imágenes y su capacidad por producir fascinación pesan más que la trascendencia del discurso. Pepa Llausas

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! LARGO VIAJE HACIA LA NOCHE / ULTIMO DIA EN LA TIERRA Vivimos en un mundo de imágenes. El texto ha pasado a ser complemento, interprete secundario, de un entorno comunicativo que se codifica en imágenes. No hay noticia si no hay imagen que enseñar. Poco importa que el argumento sea periodístico o venga de la mano del poeta más estricto. Ni siquiera la veracidad o la comprensión de las imágenes en cuestión importan demasiado. El órgano visual, el ejercicio de ver nos ha sometido una dictadura a la que ningún otro sentido puede derrocar. El desarrollo tecnológico ha hecho posible que las imágenes se comporten como una puerta abierta al territorio que se esconde en el otro lado del espejo. Lo de menos, para el hombre contemporáneo, es su capacidad de reproductor de la realidad. Lo que de verdad nos fascina es el deseo del otro lado del espejo. El cine está alcanzando su mayoría de edad en la relación con el gran público. Ya no depende de una sala oscura, ni de grandes pantallas. Superada la obediencia a los cánones, las imágenes se apoderan a pasos agigantados del acto narrativo, no como un añadido si no como dueñas y señoras del ejercicio expresivo. El subconsciente ama las imágenes, son el cemento con el que levanta sus altos edificios. El consciente, en cambio, se revela ante una falta de concreción, de límites inverosímiles que no comprende. Las nuevas narrativas juegan en un campo fronterizo y no tan “imaginario” como les gustaría. Al final, la imagen que muestra la pantalla sea grabada o prefabricada, debe mostrar algo concreto. Asistimos a un baile de máscaras en el que la verdadera imagen sigue viniendo de la mano del logos, que le da sentido, y no de la del ojo enamorado de colores y formas en cuyos brazos cae rendidos en cuanto estos empiezan a moverse. El nuevo entorno internáutico nos ha hecho transeúntes de autopistas que nunca paran y en las que las imágenes lo son todo. Tardamos dos segundos en ver una imagen para cansarnos de ella y buscar desesperadamente la siguiente. La vieja división de una narrativa en 3 actos con personajes que dialogan, con desarrollos argumentales que se van desenvolviendo a medida que avanza la narración han perdido su sentido. Se diría que el mismo hecho narrativo está perdiendo sentido en una sociedad que solo está interesada en coleccionar visiones. Los nuevos creadores lo saben. Tarantino añadió un importante capítulo a una experiencia narrativa con la que ya se había atrevido Kubrick y de la que Pulp Fiction vino a tomar el relevo. Bi Gan no hace más que sumarse a una larga lista de directores que, de un modo u otro, van alimentando el libro de los nuevos modos de contar a los que nos enfrentamos, donde las imágenes y su capacidad por producir fascinación pesan más que la trascendencia del discurso. Pepa LlausasEscucha este episodio completo y accede a todo el contenido exclusivo de Las Musas no Avisan Podcast. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/623091

Check out this film's posts @ MovieJeff.com here » https://themoviereviewshow.blogspot.com/2018/05/long-days-journey-into-night.html and leave a comment Long Day's Journey into Night is a 2018 Chinese drama film directed by Bi Gan. Despite the film's English-language title, it is unrelated to the 1956 Eugene O'Neill play of the same name. It is notable for its final 59 minutes, which consists of one unbroken long take in 3D. Follow the show... @ Twitter https://twitter.com/MOVIEREVIEWSH0W @ YouTube https://www.youtube.com/channel/UCpONT6Yp423GzUrHDDqBL3g @ LetterBoxd https://letterboxd.com/jeffmovie AND, FOR AS LITTLE AS $1/MONTH » https://patreon.com/dad SUPPORT THIS SHOW AND OTHER VENTURES FROM HTTPS://WWW.MYAMERI.CA INDUSTRIES • THANK YOU --- Send in a voice message: https://anchor.fm/the-movie-review-show/message Support this podcast: https://anchor.fm/the-movie-review-show/support

i am truly very sorry --- Support this podcast: https://anchor.fm/myspace/support

Kaili Blues transforma su narrativa en un licuado entre el pasado, presente y futuro. En la intangibilidad del retrato, la única regla es que no hay reglas: se asume como un sueño lúcido. Bi Gan, director del filme, es una de las voces más interesantes de la nueva camada de cine asiático. Participantes: Luis G. Cardoce: Periodista y realizador audiovisual especializado en temas de sociedad y cultura. Cofundador de la revista digital La Cuarta CR y actual redactor en deleFOCO. Sergio Beeche: Crítico de cine, filólogo, creador de la revista digital Variaciones Pop y panelista en el cine foro Club Magaly del Cine Magaly. Jorge Arturo Mora: Periodista y realizador audiovisual. Redactor en los suplementos Viva y Revista Dominical en el periódico La Nación y cofundador de la revista digital La Cuarta CR. Música: Don't Feel (So Low) by Mid-Air Machine is licensed under a Attribution-ShareAlike License. --- Send in a voice message: https://anchor.fm/delefoco/message

La cinquième émission de Scanners se consacre aux nouvelles perspectives ouvertes par la résurgence du cinéma en 3D, avant de revenir sur Adieu au langage de Jean-Luc Godard en compagnie de Fabrice Aragno, chef opérateur et collaborateur régulier du cinéaste suisse. Programme 01:22 – Le découplage dans Adieu au langage de Jean-Luc Godard (Sylvain Blandy). 05:44 – L’appel de la profondeur, du Roi Lion de Jon Favreau au Tintin de Steven Spielberg (Josué Morel). 10:36 – Les conditions du vertige dans Un grand voyage vers la nuit de Bi Gan et The Walk de Robert Zemeckis (Corentin Lê). 13:33 – Entretien avec Fabrice Aragno, chef opérateur sur Les Trois Désastres et Adieu au langage de Jean-Luc Godard. Ressources – Le trailer du Roi Lion : https://www.youtube.com/watch?v=7TavVZMewpY – Entretien avec Jean-Luc Godard par Canon (1) : https://www.youtube.com/watch?v=Bou1w4LaqMo – Entretien avec Jean-Luc Godard par Canon (2) : https://www.youtube.com/watch?v=q_fXRgKtx7A – Le site de Casa Azul Films, société de production des films de Jean-Luc Godard et Fabrice Aragno : https://casa-azul.ch/wordpress_X/ Générique Mathieu Bonnafous : https://soundcloud.com/catartsis Une émission animée et réalisée par Corentin Lê.

Check out these films' posts @ MovieJeff.com here » https://themoviereviewshow.blogspot.com/2018/06/animal-world.html + https://themoviereviewshow.blogspot.com/2016/07/kaili-blues.html + https://themoviereviewshow.blogspot.com/2018/09/the-night-comes-for-us.html and leave a comment A trio of Eastern films from China and another place. It's not racist to do an episode like this. Animal World, also known as Animal World: Mr. Nobody, is a 2018 Chinese action-adventure film written and directed by Han Yan, and starring Li Yifeng, Michael Douglas and Zhou Dongyu, about the high stakes world of rock, paper, scissors. Kaili Blues is a meditative 2015 Chinese film written and directed by Bi Gan. The Night Comes for Us is a 2018 Indonesian action thriller film written and directed by Timo Tjahjanto. It's like the Indonesian John Wick or something. Follow the show... @ Twitter https://twitter.com/MOVIEREVIEWSH0W @ YouTube https://www.youtube.com/channel/UCpONT6Yp423GzUrHDDqBL3g @ LetterBoxd https://letterboxd.com/jeffmovie AND, FOR AS LITTLE AS $1/MONTH » https://patreon.com/dad SUPPORT THIS SHOW AND OTHER VENTURES FROM HTTPS://WWW.MYAMERI.CA INDUSTRIES • THANK YOU --- Send in a voice message: https://anchor.fm/the-movie-review-show/message Support this podcast: https://anchor.fm/the-movie-review-show/support

Comentarios sobre los estrenos del inicio de diciembre: en cartelera alternativa, Largo viaje hacia la noche (Bi Gan, 2018), y en servicio de streaming Atlantique (Mati Diop, 2019). Además de recomendaciones de la programación del Festival del Puerto (del 4 al 8 de diciembre). Y cerramos con los 20 años de un clásico de la ciencia ficción: Matrix (Wachowski, 1999). --- Send in a voice message: https://anchor.fm/sonidofilme/message

This week on the InSession Film Podcast: Extra Film show, Ryan and Jay discuss Adopt a Highway starring Ethan Hawke, and the Bi Gan film Long Day's Journey into Night! - Review: Adopt a Highway (3:01) - Review: Long Day's Journey into Night (36:02) Thanks for listening and be sure to subscribe on iTunes, Google Play, Stitcher, Soundcloud or TuneIn Radio! iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337 Spotify: https://open.spotify.com/show/5LIi40D5BTFnsRMP57O5nG IHeartRadio: https://www.iheart.com/podcast/269-insession-film-podcast-30916083/ Google Play: https://play.google.com/music/listen?authuser&u=0#/ps/It5foal422yoktioaclalk3ykyi Stitcher: http://www.stitcher.com/podcast/insession-film Soundcloud: https://soundcloud.com/insession-film TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/ Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/

Joker + Total Control, and the Filmlordes discuss Static Vision and their exclusive screening of Bi Gan's sophomore film Long Day's Journey Into Night [3D]. Also, French protests get chic, Martin Scorsese whines about Marvel, and Zoe Kravitz get casts as Catwoman - not Juno MacGuff... Speaking of which, people think Jennifer's Body is a superhero movie (j'agree) and we use that as ammunition to get people to see Static Vision's screening of Bi Gan's festival favourite.

Chinese director Bi Gan explores guilt and memory through the mechanism of a dream; while Laure de Clermont-Tonnerre tells of…

Espaço/tempo, fluxo de memórias, viagens espaciais... Esta semana, o podcast leva os varandeiros a uma aventura além das estrelas. Começamos o itinerário com o sci-fi filosófico da diretora francesa Claire Denis. High Life (2:55) leva Juliette Binoche e Robert Pattinson ao espaço em uma trama sobre encarceramento, solidão, falta de esperança e regeneração - tudo isso, claro, no caminho de um buraco negro. Aproveitamos a deixa para recordar muitos filmes considerados do gênero que refletem sobre a condição humana (35:23), de Kubrick a Nolan, passando por Ridley Scott e Villeneuve. Tem Tarkovski e até Chris Marker. O drama surrealista Longa Jornada Noite Adentro (1:07:06) é a estreia da semana em destaque. O diretor chinês Bi Gan vai se tornando queridinho dos festivais, mas alguns o acusam de ser uma espécie de carpinteiro arthouse. Será que ele fica ou cai da varanda? No Puxadinho (1:26:00) tem Varda por Agnès, Detetive Pikachu, Cemitério Maldito, a série de animação Tuca and Bertie e muito mais. Além da participação dos ouvintes no Cantinho do Ouvinte. Bom podcast!

Writer-director Bi Gan discusses his acclaimed follow up to KAILI BLUES, LONG DAY'S JOURNEY INTO NIGHT, an immersive art-house sensation that broke box office records in China. The film premiered at last year’s New York Film Festival and it begins its official theatrical run this weekend. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org

New Directors/New Films has always been a vital for, well, new directors and new films. Over the course of its nearly 50 years, the festival has introduced audiences to filmmakers like Spike Lee, Chantal Akerman, Bi Gan, Valerie Massadian, Gabriel Mascaro, RaMell Ross, and Kelly Reichardt. The 2019 edition continued in this tradition, bringing a bracing selection of films, many still without distribution, to screens in New York. This week, we take a closer look at ND/NF 2019, paying particular attention to a few of our favorites this year, including Clemency, Joy, Genesis, and Fausto, among others. Film Comment Editor in Chief Nicolas Rapold is joined by Rosa Morales, development and membership coordinator at SFFILM, Sebastian Rea, founder of the 30UNDER30 Film Festival, and Abby Sun, FC contributor and programmer at True/False Film Fest to reflect on this year's festival, and to dig a little deeper into some standout selections.

Les sorties de films les plus "tendance" de ce mercredi 6 février 2019 avec "La Favorite", un drame historique de Yórgos Lánthimos, "Une intime conviction", drame judiciaire de Antoine Raimbault, "Arctic", du cinéaste brésilien Joe Penna avec Mads Mikkelsen, et "Tout ce qu'il me reste de la révolution", une comédie française de Judith Davis. Enfin les critiques "La Mule" de Clint Eastwood, "The Green Book : Sur les routes du sud"vde Peter Farrelly et le magnifique "Un long voyage dans la nuit" de Bi Gan.

Sean and Evan discuss some of the films they saw at this year's Vancouver International Film Festival, including Christian Petzold's Transit, a variety of Moody Asian Noirs (Manta Ray, Lush Reeds, A Land Imagined), Bi Gan's Long Day's Journey Into Night, Ulrich Köhler's In My Room, Derek Chiu's No. 1 Chung Ying Street and Jodie Mack's The Grand Bizarre.

What does Steve McQueen's new heist thriller Widows – Sight & Sound's November 2018 cover film and gala opener of this year's London Film Festival – tell us about race and class? Philip Concannon, Nick James, Isabel Stevens and Kelli Weston discuss this, Chinese auteur Jia Zhang-ke's new crime drama Ash Is Purest White, plus three more picks from this year's festival: Sudabeh Mortezai's Joy, Andrew Bujalski's Support the Girls and Bi Gan's Long Day's Journey into Night. Read about our November issue: bfi.org.uk/news-opinion/sight-sound-magazine/november-2018-issue See all our London Film Festival 2018 online coverage: bfi.org.uk/sight-sound-magazine/london-film-festival-2018

In this episode, FC Editor-in-Chief Nicolas Rapold is joined by Amy Taubin, Jonathan Romney, and Eric Hynes to discuss Lars von Trier's “provocative” The House That Jack Built and Spike Lee's provocative BlackKklansman. The writers also discuss Bi Gan's Long Day's Journey into Night, Ryusuke Hamaguchi's Asako I & II, and the latest Stéphane Brizé & Vincent Lindon collaboration, At War.

Anna Mouglalis spoke with Charles Gillibert, French producer accustomed to Cannes since he recently presented the films Sils Maria in 2014 and Personal Shopper in 2016 both by Olivier Assayas, and Mustang directed by Deniz Gamze Ergüven, a film first noticed in 2015 during la quinzaine des réalisateurs. This year, he comes with Yann Gonzalez's film, A knife in the heart, starring Vanessa Paradis, and the Long Day's Journey into Night by Bi Gan, selected for Un Certain Regard.

Anna Mouglalis spoke with Charles Gillibert, French producer accustomed to Cannes since he recently presented the films Sils Maria in 2014 and Personal Shopper in 2016 both by Olivier Assayas, and Mustang directed by Deniz Gamze Ergüven, a film first noticed in 2015 during la quinzaine des réalisateurs. This year, he comes with Yann Gonzalez’s film, A knife in the heart, starring Vanessa Paradis, and the Long Day's Journey into Night by Bi Gan, selected for Un Certain Regard.

Anna Mouglalis a échangé avec Charles Gillibert, producteur français habitué de Cannes puisqu’il y a récemment présenté les films Sils Maria en 2014 et Personal Shopper en 2016 réalisés par Olivier Assayas et Mustang de Deniz Gamze Ergüven remarqué lors de la Quinzaine des réalisateurs 2015. Cette année, il accompagne le film de Yann Gonzalez, Un couteau dans le coeur, avec Vanessa Paradis notamment, ainsi que Long Day’s Journey into Night du réalisateur Bi Gan, sélectionné pour Un Certain Regard.

It's day eight of the 71st Cannes Film Festival and there's an uneasy feeling in the air. That's because Lars von Trier is back with a new film, The House That Jack Built, a dark serial killer thriller that ranks among the Danish director's most challenging works to date. On this episode David Jenkins and Adam Woodward also review Spike Lee's riotously entertaining BlacKkKlansman and the enigmatic noir story Long Day's Journey Into Night, from Chinese filmmaker Bi Gan. See acast.com/privacy for privacy and opt-out information.

Anna Mouglalis a échangé avec Charles Gillibert, producteur français habitué de Cannes puisqu'il y a récemment présenté les films Sils Maria en 2014 et Personal Shopper en 2016 réalisés par Olivier Assayas et Mustang de Deniz Gamze Ergüven remarqué lors de la Quinzaine des réalisateurs 2015. Cette année, il accompagne le film de Yann Gonzalez, Un couteau dans le coeur, avec Vanessa Paradis notamment, ainsi que Long Day's Journey into Night du réalisateur Bi Gan, sélectionné pour Un Certain Regard.

First-time filmmakers seem to either stumble on their feet or find those feet immediately and use them to run away with a superb debut. Such is the case with Bi Gan, a poet-turned-director whose Kaili Blues is a simply staggering first feature. The plot - in short, an uncle searching for a nephew - is central to the understanding of the film and yet absolutely irrelevant. It's a tale of repentance and guilt, of soul-searching and memory... all themes explored through the plot, for sure, but it's the mood and the technical audacity that drive this one home. Poetic and hypnotic, the power of this film comes from its deceptive simplicity; it washes over you so easily that its depth and the contents themselves can too easily fall by the wayside. The whole film is a sort of daze and watching it in the uncertain hours of the night I wasn’t sure if I didn't dream it all. But to simply call it a dream would be to discredit the details and quirks - and the effort - of all those involved in putting this together. No review of this film would be complete without mentioning the 40-odd-minute take, crafted beautifully in such a way that it's barely noticeable and yet right there staring you in the face the whole time. The camerawork in general is to be commended (by Tianxing Wang, another first-timer) but reaches a whole other level in this sequence. There's moments of stillness, moments of movement; one notable movement is when the camera takes a "shortcut" through some buildings as the scooter it had previously been following rides around and catches up with the camera a few seconds later. I don't think I've caught up with it, though. This will definitely need some further processing. Really highly recommended. Written by Ben Volchok

First-time filmmakers seem to either stumble on their feet or find those feet immediately and use them to run away with a superb debut. Such is the case with Bi Gan, a poet-turned-director whose Kaili Blues is a simply staggering first feature. The plot - in short, an uncle searching for a nephew - is central to the understanding of the film and yet absolutely irrelevant. It's a tale of repentance and guilt, of soul-searching and memory... all themes explored through the plot, for sure, but it's the mood and the technical audacity that drive this one home. Poetic and hypnotic, the power of this film comes from its deceptive simplicity; it washes over you so easily that its depth and the contents themselves can too easily fall by the wayside. The whole film is a sort of daze and watching it in the uncertain hours of the night I wasn’t sure if I didn't dream it all. But to simply call it a dream would be to discredit the details and quirks - and the effort - of all those involved in putting this together. No review of this film would be complete without mentioning the 40-odd-minute take, crafted beautifully in such a way that it's barely noticeable and yet right there staring you in the face the whole time. The camerawork in general is to be commended (by Tianxing Wang, another first-timer) but reaches a whole other level in this sequence. There's moments of stillness, moments of movement; one notable movement is when the camera takes a "shortcut" through some buildings as the scooter it had previously been following rides around and catches up with the camera a few seconds later. I don't think I've caught up with it, though. This will definitely need some further processing. Really highly recommended. Written by Ben VolchokSee omnystudio.com/listener for privacy information.

This week's episode brings two highlights from this year's New Directors/New Films festival, which is co-presented by the Film Society of Lincoln Center and the Museum of Modern Art. Gabriel Mascaro discusses his stunning new film, NEON BULL, and Chinese director Bi Gan talks about his audacious debut film, KAILI BLUES. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org Photo by Gabriel Honzik.