IMDb > What Time Is It Over There? (2001)
Ni na bian ji dian
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What Time Is It Over There? (2001) More at IMDbPro »Ni na bian ji dian (original title)

Videos (see all 2)
What Time Is It Over There? -- Open-ended Trailer from Wellspring Media
What Time Is It Over There? -- HV Post

Overview

User Rating:
7.3/10   2,953 votes »
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Release Date:
26 September 2001 (France) See more »
Genre:
Plot:
When a young street vendor with a grim home life meets a woman on her way to Paris, they forge an instant connection... See more » | Add synopsis »
Awards:
12 wins & 2 nominations See more »
User Reviews:
Brilliant, for the most part See more (27 total) »

Cast

  (in credits order)
Kang-sheng Lee ... Hsiao-kang
Shiang-chyi Chen ... Shiang-chyi
Yi-Ching Lu ... Mother
Tien Miao ... Father
Cecilia Yip ... Woman in Paris
Chao-jung Chen ... Man in Subway Station
Guei Tsai ... Prostitute
Arthur Nauzyciel ... Man at Phone Booth
David Ganansia ... Man at Restaurant

Jean-Pierre Léaud ... Jean-Pierre / Man at the Cemetery
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Directed by
Ming-liang Tsai 
 
Writing credits
(in alphabetical order)
Ming-liang Tsai 
Pi-ying Yang 

Produced by
Laurence Picollec .... producer
Bruno Pésery .... executive producer
 
Cinematography by
Benoît Delhomme 
 
Film Editing by
Sheng-Chang Chen 
 
Production Design by
Timmy Yip  (as Kam Tim Yip)
 
Production Management
Michel Imbert .... location production manager
 
Second Unit Director or Assistant Director
Ming-Tai Wang .... assistant director
Vincent Wang .... first assistant director
 
Art Department
Bernard Bridon .... property master
 
Camera and Electrical Department
Julie Conte .... video assistant
Arnaud Gabriel .... second assistant camera
Xavier Tauveron .... first assistant camera
 
Casting Department
Marie-Sylvie Caillierez .... extras casting
 
Editorial Department
Magalie Léonard .... color grader
 
Other crew
Harold Manning .... location scouting
Laurence Picollec .... finance
 

Production CompaniesDistributors
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Additional Details

Also Known As:
"Ni na bian ji dian" - Taiwan (original title)
"What Time Is It There?" - International (English title)
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Runtime:
116 min
Country:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Movie Connections:
References Hiroshima Mon Amour (1959)See more »

FAQ

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7 out of 10 people found the following review useful.
Brilliant, for the most part, 18 June 2002
Author: zetes from Saint Paul, MN

Tsai's unique style gives rise to another film about isolation in urbanization. Hsiao-kang's father has just died, and he and his mother must hold together. He doesn't have much problem doing that, but his mother is going insane with loneliness, so much so that she entirely imbues herself in her religious beliefs. Around this time, Hsaio-kang sells his personal watch to a girl about to fly to Paris. Soon after this, Hsiao-kang becomes obsessed with her (or is it the watch?) and decides to set all his watches (he sells them on the street) to Paris time, and then all the clocks in his house, and then all the clocks he can find. The girl gets stranded in Paris, having lost her plane ticket. The film moves slow and it has little dialogue, as is Tsai's style, but it is incredibly beautiful in its composition, editing, everything. The story is quite great, too. Tsai is a wonderful humanist. The film builds up to a silent crescendo, where the three main characters each endure cold acts of love and failed attempts at communication. When the film closes, all three are asleep, two in Taipei and one in Paris, all three alone.

Okay, I should have ended it there, but I do have two problems with the film, go figure. First, Hsiao-kang's clock setting is highly amusing at first, but it does get very old after a while. The sequence that ends in the movie theater bathroom is gold, perfect, so Tsai should have just stopped there with that motif. The scene where he sneaks into a clock store and the scene where he resets the clock tower are superfluous. We got the point, and it should have been moving forward. Secondly, I think it's about time Tsai moved on. I love the three films of his I've seen, including The Hole and Vive L'Amour, but the style is the same in all three, as is the theme. Michelangelo Antonioni, who is obviously Tsai's main inspiration (though this particular film has a lot of references to the Truffaut film The 400 Blows, including a very funny cameo by Jean-Pierre Leaud), had a problem moving on from this material, as well, with everything from L'Avventura to Red Desert being very similar (although his style evolved more than Tsai's has), and even after that his films had comparable themes. As much as I like Tsai (and Antonioni), if his next film is just like this, I'm sure it will hurt my presently high opinion of him. 9/10.

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