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All Critics (26)
| Top Critics (9)
| Fresh (25)
| Rotten (1)
Bi Gan directed this boldly original debut feature.
Bi's singular vision bears comparison to those of other geniuses such as Tarkovsky, Sokurov, David Lynch, Luis Buñuel and Apichatpong Weerasethakul.
For adventurous moviegoers, "Kaili Blues," which could draw comparisons to the early work of Apichatpong Weerasethakul and Zhangke Jia is an interesting and challenging film, worth taking a flier.
A melancholy tale of loss and regret that marks a singular feature debut for the Chinese director Bi Gan.
As lovely as the movie is to look at (and the final scene is exceptionally wonderful), it's too oblique to concentrate its energies and sharpen its focus.
"Kaili Blues" has the kitchen-sink feel of a new director eager to try every art-film technique in the book, but the film's beauty and inventiveness are riveting.
If there is one single factor that can somehow explain the pleasure afforded by Bi Gan's directorial debut Kaili Blues, it would be its undisguised, unflinching audacity.
A beautifully photographed visual dream-like, original, oblique arthouse film.
The intense blues and greens, the saturated, tangibly thick light and shade of the settings, the impossible visions of twirling, ever-present disco mirror balls, defying space, are conjured into light and sound, and, via poetry, into cinema.
Gan's mastery of his cinematic resources is total: elegant all-encompassing paneos, impeccable framing and a perfectly choreographed sequence shot of more than 40 minutes that would be the envy of Lubezki and Iñárritu. [Full review in Spanish]
Whether Bi [Gan] is familiar with the work of Marcel Proust or Jorge Luis Borges, he's definitely on their wavelength.
Not for everyone, Kaili Blues is more about tone and emotion than plot or character specifics. The cinematography is startlingly rich in the greens and blues of the landscape sliding by as you travel with Chen.
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