Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night. Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night.
Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night.
Culture /  Film & TV

Art-house director whose film was mis-sold as date movie on long takes, confusing his audience, and making the same film over and over

  • With his debut feature Kaili Blues, and new film Long Day’s Journey into Night, China’s Bi Gan announced himself as a major new talent
  • He talks about both films, defends the second’s fractured narrative, and discusses his use of extremely long takes to explore time and memory.

Topic |   Chinese language cinema
Edmund Lee
Edmund Lee

Updated: 7:58pm, 23 Jan, 2019

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Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night. Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night.
Huang Jue (left) and Tang Wei in a still from Chinese filmmaker Bi Gan’s second feature, Long Day’s Journey into Night.
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