A boy experiences first love, friendships and injustices growing up in 1960s Taiwan.
A boy experiences first love, friendships and injustices growing up in 1960s Taiwan.
Chang Chen Lisa Yang Chang Kuo-Chu Elaine Jin Chuan Wang Chang Han Chiang Hsiu-Chiung Stephanie Lai Wang Chi-tsan Lawrence Ko Tan Chih-Kang Chang Ming-Hsin Jung Chun-Lung Hui-Kuo Chou Hsiao-Tsui Tang Hung-Ming Lin Wang Bosen Hung-Yu Chen Hsu Ming Cho Ming Chen Shiang-Chyi Weiming Wang Chin Tsai Yi-Wen Chen Tang Ru-Yun Li-Mei Chen Ye-Ming Wang Lang Tsu-Yun
Gu ling jie shao nian sha ren shi jian, The Guling Street Youngster Murder Incident, 고령가 소년 살인 사건, Um Dia Quente de Verão
In one of the many expository "dream sequences" in Christopher Nolan's Inception, Leonardo DeCaprio's Cobb explains to Elliot Page's Ariadne that "Dreams feel real while we're in them. It's only when we wake up that we realize something was actually strange." It's not only an accurate statement but one that applies just as beautifully to the world of the cinema. The lights go down, the audience tunes in, and the world painted across the silver screen is our everything. When the final shot cuts or fades and the credits start scrolling, the trance dissipates like a shock to the system. A truly great film allows every aspect of reality to reorganize while we're away, and when the real world…
This review contains various thematic spoilers but only vague allusions to plot spoilers. Read at your discretion.
A Brighter Summer Day is a truth epic, a four hour journey into the abyss of teenage disillusionment. It's about the reality of growing up and the consequences of an aimless life. It's a quiet movie, of people kissing in the dark, with conversations happening between people offscreen, of themes muted in favour of shapeless ideas. It's paced like life itself, with threads weaving gradually into the story, some exit before the end, others remain forever. This is a tale of music, love, injustice. A brick to the face, a desk in an empty room, a beating watched through a window. The cinematography…
"If a person apologizes for wrongs they didn't commit, then they are capable of anything terrible."
"Natural? You can't even tell real from fake."
If it's slowly becoming a cliche to call this film 'novelistic,' it is simply because it is true, as much as I would like to perversely dis-spell that notion (a truly self-destructive act!). Over 100 characters with speaking roles, this creates a density of details and interrelationships which serve as both a portrait of a culture (and/or diminishing culture with the beginnings of a new one) as well as a process of depersonalization borne from the desire for cultural identity. Xiao S'ir is at once a fully realized, developing character himself and a walking metaphor…
It's truly a shame that A Brighter Summer isn't better known because it's truly one of the greatest landmarks in modern cinema. It's about a lot of things at once, but Yang beautifully balances everything out. It's as intimate as a love story, but at the same time also as expansive as a historical film. Set in 1960s Taipei, the film is said to be based on a real incident that the director remembers from his school days when he was 13. It's a violent incident, which the film places in the context of the political environment in Taiwan at that time.
A Brighter Summer Day is nearly four hours long but it doesn't take it's lengthy running time for…
“Are you lonesome tonight?”
Edward Yang’s A Brighter Summer Day is a film where everything and nothing happens all at once. An unrivalled artistic achievement in its magnitude and scope, the film encompasses adolescence, ideals, love, and anguish in a tender portrait of Taiwan's search for a collective identity. The film chronicles the exploits of the young and disillusioned Si’r, who is forced to attend night school after failing one of his classes; his family grows worried he will be influenced by the delinquents who also attend the school.
But the world of A Brighter Summer Day extends far beyond this almost superfluous plot description. Yang's 1960s Taiwan is vibrant and textured while losing none of its authenticity and realism.…
Honey, you lied when you said you loved me
And I had no cause to doubt you.
But I'd rather go on hearing your lies
Than go on living without you.
Now the stage is bare and I'm standing there
With emptiness all around
And if you won't come back to me
Then make them bring the curtain down.
Second viewing, last seen 30 January 2000. (According to my log, I also saw High School that day. It's one of the shortest Wiseman films, but still, that's a whole lotta adolescent rebellion.) Wish I had a stronger case to make for my contrarian opinion, but the film's ostensible greatness is simply lost on me—what I saw, again, was four solid hours of maddeningly shapeless quasi-memoir, centered around a protagonist who never quite comes into focus and a mundane turf war between rival youth gangs. Chang Chen's appeal has always escaped me, even in movies I otherwise quite like (Crouching Tiger, Hidden Dragon; Red Cliff); here, in his screen debut, he's such an empty vessel that Si'r's final act…
The western title for Yang’s most universally and all-embracing giant mammoth of a film is inspired by western culture: A Brighter Summer Day is taken from the lyrics of Elvis Presley's Are You Lonesome Tonight?. The original title is literally translated as Youngster Homicide Incident at Guling Street. Naturally, I would opt for referring to this film with its original language title, but the universal thematic content of this colossus ironically leads us to conclude that both titles/sides are irreparably coexistent. Both titles are relevant, one from the angle of the loss of cultural identity and the latter from the social perspective.
Youngster Homicide Incident at Guling Street justifies its length for its enormous array of socially concerning topics, and…
A slice-of-life drama that involves murders, this film combines elements of a paranoid thriller, a high school flick, a small town drama, a family drama, a gang crime story, and more into its languid runtime, depicting the complicated web of consequences, motivations, and relationships that fuels any community amplified by historical events (in this case, an influx of population). Yang uses both major historical events (said influx) and minor (memories from his past) to heighten this tale, and the heavy drama feels less sensational and more real because of it--that, and the down-to-earth performances. The murders, especially, are portrayed in a manner that does not separate them from any other scene, almost nonchalantly directed, so to speak, and that makes the film feel rooted in the humanity depicted rather than the Events.
this movie is like its poster, at first you find it pretty but then you look closer and is that blood on the shirt?
“No, we have all the time in the world.”
Wow. For a film that’s four hours long that flew by. I’m glad I made the time to watch it in one sitting.
I didn’t expect the ending. I was literally just destroyed by that ending shot. The ending shot is perfect. The way they callback to those first few shots was amazing.
I made time for this film today and I’m glad I did.
This is one of the greatest films I’ve ever seen.
This is cinema.
The direction by Yang is just insanely good.
The opening shots of Si’r just sitting alone looked beautiful.
All the shots of the concerts looked amazing.
All the shots at the pool table looked amazing.
The shots of Xi’r and Ming just…
This one wrecked me... review to come y'all.
고령가소년살인사건은 비좁은 시야의 청춘영화로 시작하지만, 그보다 훨씬 큰 무언가를 시종일관 바라보고 있는 영화이다. 국부천대 직후 대만의 정체성과 분위기를 이보다 예리하게 꿰뚫어 보는 시선이 있을까? 그 시선으로 장장 4시간에 걸친 영화를 만들어준 감독에게 감사함을 느낄 수 밖에.
지금껏 봐온 에드워드 양 감독의 작품들과 시대적 배경이 가장 이질적인 편. 다른 작품들은 대부분 국가성장이 어느정도 안정적인 궤도에 돌입한 이후의, 과잉과 풍요의 시대의 인간소외를 다루었다면 이 영화는 국부천대 직후 민국의 복잡한 뿌리와 그 시대상에 얽매인 개인들의 이야기를 잔잔하게 풀어나간다.
일제의 잔재와 대륙에서 도망쳐온 중국인들, 억압적 군사 독재와 과잉된 민족의식 등의 시대상들이 미묘하지만 일관되게 영화 전반에 걸쳐 섬세하게 묘사된다.영화는 청춘극임을 표방하지만, 본질적으로는 시대극이며, 결국 시대가 가져온 무거운 분위기의 인장에 사로잡혀 천천히 커다란 호를 그리며 예측하기 어려운 결말로 치닫는다. 결말로 이어지는 장면들은 4시간의 런닝타임에 걸쳐 복선처럼…
My introduction to edward yang and he did not disappoint. I’m just speechless with the ending bc of how dark and unexpected it was. imo the only problem was pacing but that’s all
I saw the exhausting extended cut. Edward Yang's Taiwanese saga is set in 1959 Taipei and centers on the turbulence of teens of a night school riddled with gangs and lovers with shifting loyalties. It is a slow-moving film, with few rewards along the way. I kept wondering what was keeping these characters motivated. I couldn't figure it out. I prefer Yang's "Yi Yi" for a tighter focus on story. I admire the distant camera that tries to stay objective, but ultimately its formalism destroys emotion.
It present the circumstances of the transplanted Chinese as they struggle to rebuild their lives in a newly created nation, among social imbalance and an unforeseeable future that leads to a sense of alienation and disorientation, and he did so in an insightful and analytical fashion that resulted in a true masterpiece.
The amount of depth that packed in this novel of a film makes this film so rich and full of life.
I’m not just watching a movie, I’m traveling to the past and got front row seats to watch a absolute tragedy unfold. But it isn’t just a epic Shakespearian tale. It’s a family drama. A Crime thriller. A coming-of-age romance. A political commentary on the outside influence. Whether it be locally or globally.
Every scene just weaves through briskly. This is the longest movie I’ve watched where the pacing is goddamn perfect. With every scene adding so much to the world that only tightens the scenes that follow it. Only for the final 30 minutes to be some of…
Very long but beautiful. Calls for a re-watch.
A masterpiece by Edward Yang, with allusive symbolisms, sporadic patterns of social relations, complexity in ironies, and cinematic allegories. Great techniques of storytelling through the lens.
Addictional characters were really part of pivotal characters' gazes to emphasize delineation of governmental dysfunctionality during 1960s in Taipei. The ROC government relocated to Taiwan in 1949 while fighting a civil war with the Chinese Communist Party. Since then, the ROC has continued to exercise effective jurisdiction over the main island of Taiwan and a number of outlying islands, leaving Taiwan and China each under the rule of a different government. Several people also moved from China to Taiwan. This left an identity crisis among teenagers and children who were in gangs.
The movie needs you to be patient, but I promise it’s worth it
אני כבר 10 דקות מנסה לכתוב כאן משהו, עדיין רועד עם דמעות בעיניים ובשוק ממה שראיתי..
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