Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

In a very different way, two other Chinese directors have reinvented cinema.

Posted by tinear on July 22, 2020 at 13:08:10:
Bi Gan's, "Kaili Blues" is indescribable. Is it noir? Then how to account for the absurdly beautiful colors? Is it a drama? Well, where is the plot line?
I think it's a poetic vision (Tarkovsky-like), but also a philosophical one: it functions like no other film in weaving together "present" with dreams and memories. An original work of art, and how often do you find such a thing!
His next film, "Long Day's Journey into Night" is even more mesmerizing. Some characters reappear, though one need pay special attention to recognize them. Both films "make sense" though it takes some effort to do so because of the narrative structure. Of course, you could just enjoy the ride---- and that's what I recommend for the first viewing. The use of sound and music is, again, original.
Diao Yinan's "Black Coal, Thin Ice" is the best whodunit I've seen in many, many years. The style is utterly original (the Chinese simply are ahead of anyone else at this point) and the acting is so natural that it's hard to believe it's not a documentary. No facial tics, unnecessary eye movements, hand gestures--- all those Hollywood crutches one gets to wince at long before their necessary and anticipated appearance.
There is a S. Korean director who also is doing very new things--- but I'll wait for another occasion to bring him up.