Alamo Drafthouse Mueller
MON Nov 12, 7:40 PM

AAAFF is excited to bring Bi Gan’s stunning second feature LONG DAY’S JOURNEY INTO NIGHT for a special screening at Alamo Drafthouse Mueller on Nov 12,  and don’t miss our inaugural Winter Showcase, running Nov 6-14 at the AFS Cinema!

Bi Gan follows his acclaimed debut KAILI BLUES (AAAFF 2016) with another visually stunning deep dive into the subconscious. Like its predecessor, LONG DAY’S JOURNEY INTO NIGHT begins in the director’s hometown in Southwest China, to which Luo Hongwu (Huang Jue, THE FINAL MASTER) has returned for his father’s funeral. A rush of nostalgia spurs him to seek out old flame Wan Qiwen (Tang Wei, LUST, CAUTION)—a search signposted by talismanic reminders of lost love and buried traumas, including the mysterious death of Luo’s best friend “Wildcat” (Taiwanese rising star Lee Hong-chi). His noirlike quest leads to a bravura sequence that tops KAILI BLUES’ famed long take with a literal added dimension—yes, this is a Chinese arthouse movie in 3D—and a hypnotic dream logic that brilliantly sleepwalks the razor’s edge of memory, reality, and imagination. – Josh Martin

PRODUCER: Shan Zuolong
DIRECTORS OF PHOTOGRAPHY: Yao Hung-i, Dong Jinsong, David Chizallet
EDITOR: Qin Yanan
MUSIC: Lim Giong, Point Hsu
FEATURING: Tang Wei, Huang Jue, Sylvia Chang, Lee Hong-chi, Chen Yongzhong

LENGTH: 138 min
LANGUAGE: Mandarin
COUNTRY: China | France
GENRE: Drama

2018 Cannes Film Festival – Official Selection, Un Certain Regard
2018 Toronto International Film Festival – Official Selection, Wavelengths
2018 New York Film Festival – Official Selection
2018 Taipei Golden Horse Film Festival – Opening Film

“Hauntingly lovely… with a staggering 55-minute 3-D tracking shot that must be seen to be believed.” Justin Chang, Los Angeles Times

“The unexpected love child of Wong Kar-wai and Andrei Tarkovsky, Long Day’s Journey Into Night transforms from a lush, slow-burn pastiche to an audacious filmmaking gamble while maintaining the pictorial sophistication of its earlier section. It’s both languorous and eye-popping at once.” – Eric Kohn, IndieWire