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IMDbPro

Long Day's Journey Into Night

Original title: Diqiu zuihou de yewan
  • 2018
  • Not Rated
  • 2h 18m
IMDb RATING
7.1/10
8.7K
YOUR RATING
Tang Wei in Long Day's Journey Into Night (2018)
Watch Trailer [IT]
Play trailer1:11
3 Videos
99+ Photos
DramaMysteryRomance

A man went back to Guizhou, found the tracks of a mysterious woman. He recalls the summer he spent with her twenty years ago.A man went back to Guizhou, found the tracks of a mysterious woman. He recalls the summer he spent with her twenty years ago.A man went back to Guizhou, found the tracks of a mysterious woman. He recalls the summer he spent with her twenty years ago.

  • Director
    • Bi Gan
  • Writer
    • Bi Gan
  • Stars
    • Tang Wei
    • Jue Huang
    • Sylvia Chang
  • See production, box office & company info
  • IMDb RATING
    7.1/10
    8.7K
    YOUR RATING
    • Director
      • Bi Gan
    • Writer
      • Bi Gan
    • Stars
      • Tang Wei
      • Jue Huang
      • Sylvia Chang
    • 63User reviews
    • 94Critic reviews
    • 88Metascore
  • See more at IMDbPro
    • Awards
      • 15 wins & 45 nominations

    Videos3

    Trailer [IT]
    Trailer 1:11
    Watch Trailer [IT]
    LONG DAY'S JOURNEY INTO NIGHT - official US trailer
    Trailer 2:17
    Watch LONG DAY'S JOURNEY INTO NIGHT - official US trailer
    Streaming Passport to China
    Clip 4:35
    Watch Streaming Passport to China

    Photos431

    Long Day's Journey Into Night (2018)
    Long Day's Journey Into Night (2018)
    Jue Huang in Long Day's Journey Into Night (2018)
    Tang Wei in Long Day's Journey Into Night (2018)
    Jue Huang in Long Day's Journey Into Night (2018)
    Tang Wei in Long Day's Journey Into Night (2018)
    Tang Wei in Long Day's Journey Into Night (2018)
    Long Day's Journey Into Night (2018)
    Hong-Chi Lee in Long Day's Journey Into Night (2018)
    Long Day's Journey Into Night (2018)
    Jue Huang and Tang Wei in Long Day's Journey Into Night (2018)
    Jue Huang in Long Day's Journey Into Night (2018)

    Top cast

    Edit
    Tang Wei
    Tang Wei
    • Wan Qiwen…
    Jue Huang
    Jue Huang
    • Luo Hongwu
    Sylvia Chang
    Sylvia Chang
    • Wildcat's Mom…
    Hong-Chi Lee
    Hong-Chi Lee
    • Wildcat
    Yongzhong Chen
    • Zuo Hongyuan
    Feiyang Luo
    • Wildcat (Childhood)
    Chloe Maayan
    Chloe Maayan
    • Pager
    Chun-hao Tuan
    Chun-hao Tuan
    • Ex-husband of Wan Qiwen
    Yanmin Bi
    • Woman Prisoner
    Lixun Xie
    • Lover of Red-hair Woman
    Xi Qi
    Xi Qi
    • Woman in Jade Hotel
    Ming-Dow
    Ming-Dow
    • Traffic Police
    • (as Ming Dow)
    Zezhi Long
    • Yellow-hair Man in Pool Room
    Jian Jun Ding
    • Traffic Office
    Kailong Jiang
    • Hatchet Man D
    Kai Liang
    • Waiter of Hotel
    Chuanren Lin
    • Locomotive Prostitute
    Xizhen Liu
    • Karaoke Dancing Girl
    • Director
      • Bi Gan
    • Writer
      • Bi Gan
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The marketing of the film was met with major controversy after its opening. The marketing of this art film was targeted massively towards the general public, instead of art film lovers. The film opened on December 31, 2018 since it was the last day of the year and it was intended to be "a good event to celebrate the new year". It was estimated that a lot of people went to see the film without knowing that this is an art house film. This resulted in major backlash as netizens complained against the film, as well as calling the ones who appreciated it "jia wenyi (phony-artistic)". The film earned 38 million USD on the first day of opening, yet the box office of the second day was decreased by 96%.
    • Quotes

      Lu Hongwu: Dreams rise up and I wonder if my body is made of hydrogen. And then my memories would be made of stone.

    • Connections
      Referenced in AniMat's Crazy Cartoon Cast: The End of that Stupid Hashtag (2020)

    User reviews63

    Review
    Review
    Featured review
    7/10
    A luminous esoteric puzzle
    Long Day's Journey Into Night is the love child of Andrei Tarkovsky and Kar-Wai Wong, garnished with a truly insane salad-dressing made up of an unholy mixture of filmmakers such as Peter Greenaway, David Lynch, Guy Maddin, and Leos Carax, playwrights Samuel Beckett and Harold Pinter, poet Paul Celan, painters Marc Chagall, Francis Bacon, and Jackson Pollack, and novelists Franz Kafka, Marcel Proust, and Patrick Modiano; not exactly a compendium of the most accessible artists of all time. As unconcerned with formal conventionality as it is with narrative resolution, this is an art-house movie through and through, an esoteric puzzle made up of two distinct parts. Whilst the 2D first half is a measured, but reasonably conventional albeit non-linear noir, the second is composed of an unbroken 50-minute 3D shot that's as aesthetically audacious as it is narratively elliptical. The second feature from 30-year-old self-educated writer/director Bi Gan, Long Day's Journey is aggressively enigmatic, and the absence of character arcs, the formal daring, the languorous pacing, and the resistance to anything approaching definitive conclusions, will undoubtedly see many react with equal parts bafflement and infuriation. However, if you can get past such issues and go with the film on its own terms, you'll find a fascinatingly esoteric examination of the protean nature of memory, a film that in both form and content seems to belie its writer/director's youth and relative inexperience.

    Long Day's Journey tells the story of moody loner Luo Hongwu (Jue Huang), a man haunted by his past. In 2000, he met and had a brief but memorable relationship with the mysterious Wan Qiwen (Tang Wei), whom he has never been able to forget. When he returns to his home city of Kaili to bury his father, he sets about trying to track down Qiwen, as the story of their relationship is told via flashbacks. However, it soon becomes apparent that just because Lou remembers a thing doesn't necessarily mean that that thing happened. When his search leads him to a dingy movie theatre, he puts on a pair of 3D glasses and finds himself in an abandoned mine from which his only hope of escape is to win a game of ping pong. The rest of the film takes place in his dream world. Or in the 3D movie playing in the theatre. Or in an amalgamation of both. Or in something else entirely.

    Long Day's Journey's biggest selling point is unquestionably the aesthetically audacious second hour. The film starts as a garden variety noir - the world-weary voiceover, the femme fatale revealed through flashbacks, smoke-filled rooms, the back alley meetings, the dangerous gangster, the troubled friend, the darkly fatalistic tone. There's even a clue written on the back of a photo. However, all of these genre markers are jettisoned when Luo enters the cinema, putting on his 3D glasses, just as the audience is prompted to do likewise. The film's title card then appears onscreen for the first time (a full 70 minutes in), and the movie adopts a far more elliptical and esoteric stance than the investigative noir structure of the first half.

    Unlike 'single-take' films such as Climax (2018), Utøya: July 22 (2018), and 1917 (2019), which use long-takes and 'hidden' edits to give the effect of a single-shot, the second half of Long Day's Journey follows films such as Russian Ark (2002) and Victoria (2015) insofar as it was legitimately shot via one single take. And not only that, but it's a complex and visually layered shot too, featuring drones, Steadicams, intricate blocking, elaborate external locations with multitudes of people, practical effects, complex interior locations, even a lengthy sequence set on a zip line. Considering the scope, it would be an impressive enough technological accomplishment in 2D, but that it was filmed with bulky 3D cameras is almost unbelievable, and that three cinematographers worked on the project is unsurprising - Hung-i Yao shot half of the 2D material, Jingsong Dong shot the rest of the 2D material and planned the 3D sequence, whilst David Chizallet actually shot the sequence.

    What's especially laudable about the sequence, however, is how it never becomes gimmicky. Most movies released in 3D have no real thematic justification for being in 3D, nothing in their content to justify their form, whilst films such as Victoria have no real thematic justification for being single-shots. Long Day's Journey, however, justifies both decisions - the single-shot works in tandem with the 3D to create a vibrant and complex world of depth and vitality, but one that never seems completely real; there's always the sense of an artifice, something highly 'subjective' getting between the audience and the on-screen images, as if we're not seeing things objectively but instead seeing an individual's interpretation of things - it's reality, but it's mediated reality, with all the subjective distortions that such a thing implies.

    This is a film about memory, specifically the idea that memory can be deceptive, and may have as much to do with dreams as with objective reality. In this sequence, as memory, reality, and dream seem to blend into one another, with even identity itself dissolving (several of the main actors re-appear in completely different parts), Gan shows us something that approximates a dream as well as anything you're ever likely to experience, outside actually dreaming. Any film can throw something surreal onscreen and call it a dream scene, but Long Day's Journey manages to convey not just the content of a dream, but the illogical texture of a dream. You replace the 3D images with 2D images, or you replace the single-shot with edited content, and you fundamentally lose that texture; the 3D/single-shot form is as important as James Joyce's removal of punctuation is in creating the impression of a mind on the brink of falling asleep in the last episode of Ulysses (1922) - restore the punctuation, and the interrelatedness of form and content is lost.

    Speaking of literature, although the film may seem unrelated to Eugene O'Neill's 1941 play (the Chinese title similarly references a short story collection by Roberto Bolaño), a common theme is memory and the all-consuming power of time. The conventional first half of the film concerns itself not just with memory, but with the imperfect nature of memory, essentially suggesting that obsession is nothing more than a trick of the mind, an attempt to reattain something that may never have existed in the first place (also an important theme in the play). Indeed, it's worth noting that the most recurrent visual motif in the film is that of reflection - not just in mirrors, but so too in puddles, which act as slightly more distorted (subjective?) versions of the relatively perfect reflection one gets from a mirror. So even here, one can see that Gan is examining the distortions of memory and the fault line between objectivity and subjectivity.

    All of which will probably go some way to telling you whether or not you're likely to enjoy Long Day's Journey. Make no mistake, this is an esoteric film that isn't especially interested in plot or character, and which uses form to explore complex issues such as memory, subjectivity, and obsession. It's rarely emotionally engaging in a conventional sense and the minimalist plot can result in some rather glib moments. The storyline is elliptical, the characters archetypal, the themes subtle, and, all things considered, the very aspects which one person will find transformative, will completely alienate another. You either embrace the emphasis on mood and tone, or you fight it, trying to find a linear narrative through-line. Personally, I loved its formal daring and admired Gan's confidence and the singularity of his vision, but at the same time, I found each section outstayed it's welcome a little, and felt the first half could lose a good 15 minutes, and the second around 10 or so. Gan also walks a very fine line between emotional detachment and emotional alienation, and it's a line he crosses a couple of times. Nevertheless, this is an awe-inspiring technical achievement, an ultra-rare example of a film which perfectly matches form to content, and a fascinating puzzle that trades in the undefinable nuances of memory. If you have the patience to work with it, the rewards are many.
    helpful•45
    14
    • Bertaut
    • Jan 12, 2020

    Details

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    • Release date
      • December 31, 2018 (China)
    • Countries of origin
      • China
      • France
    • Official sites
      • Anticipate Pictures (Singapore)
      • Bac Films (France)
    • Languages
      • Mandarin
      • Japanese
    • Also known as
      • Long Day's Journey into Night
    • Filming locations
      • China
    • Production companies
      • Beijing Herui FIlm Culture
      • CG Cinéma
      • Dangmai Films (Shanghai)
    • See more company credits at IMDbPro

    Box office

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    • Budget
      • CN¥40,000,000 (estimated)
    • Gross US & Canada
      • $521,365
    • Opening weekend US & Canada
      • $26,746
      • Apr 14, 2019
    • Gross worldwide
      • $42,140,994
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 18 minutes
    • Color
      • Color
    • Aspect ratio
      • 1.85 : 1

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