Wi Ding Ho
dans le rôle de Director
English,Filipino,Français,Indonesian,Kiswahili,Português,Русский,اَلْعَرَبِيَّةُ,اُردُو,هَرْشٜن هَوْس,বাংলা,ਪੰਜਾਬੀ
The crime film Face à la nuit, starring Jack Kao, Hong-Chi Lee, Louise Grinberg, etc., directed by Wi Ding Ho, was released on July 11, 2019 in Taiwan. It tells the story of Le film dépeint la tournure des événements du protagoniste à trois époques, trois saisons et trois nuits dans la même ville, raconté au travers d'une chronologie inversée. This is a Crime, Drame, Science-Fiction film with a runtime of 106 minutes and its worldwide box office is not listed in the available detail data. It has received a rating of 6.3/10 from 2,291 viewers.
Wi Ding Ho
dans le rôle de Director
Jack Kao
dans le rôle de Zhang Dong Ling (Mature)
Hong-Chi Lee
dans le rôle de Zhang Dong Ling (Young)
Louise Grinberg
dans le rôle de Ara
Ning Ding
dans le rôle de Big Sister Wang
Lu Huang
dans le rôle de Yu Fang (Young)
Linda Jui-Chi Liu
dans le rôle de Yu Fang (Mature)
Ching-Ting Hsia
dans le rôle de Ah Long
Igor Kovic
dans le rôle de Ara's Father
Yi Dai Kuo
dans le rôle de Manager
Ming-Sen Lin
dans le rôle de Zhang Jia Jun
Ming-Shuai Shih
dans le rôle de Xiao He
Joey Yu
dans le rôle de Little Six
Wi Ding Ho
dans le rôle de Writer
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127A Smithfield Road, Frederiksted, Virgin Islands
Castle Rock Entertainment
21 victoires et 43 nominations au total
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The movie is divided into 3 parts detailing 3 different times in the character's life, beginning with old age, then middle age, and finally teen age. The problem is that rather than being one cohesive whole, each part feels too separate, like standalone mini-movies. His teenage part, especially, feels pointless and completely removed from the other two. The story would not lose anything if this part was removed. And being half an hour long, that's an unacceptable waste of the viewer's time. The filmography, acting, etc. Are all very good, but none of that can make up for a story told badly. The script is also rather sparse, with the main character speaking very very little throughout the whole movie, and way too many things being poorly explained as a result. It's difficult to understand what's going on or the character's motivations at times.
Sauce
I was surprised by the emotions I felt seeing the troubles the main character goes through in the film. Somehow, the movie manages to make the audience "feel" what he goes through when he sees his wife cheating on him with his supervisor, when he is wrongly framed for a crime by his supervisor(possibly to avoid future retaliation), when he sees his own mother die and immediately feels regret for being cold to her, etc. Somehow, the movie manages to beautifully capture the mundane life of this man who goes through such trauma's in life. Even the mother's emotions and feelings were well portrayed although she appears only during the last 25-30 minutes of the film. A surprising find, and glad I watched it.
A series of events in a man's life, over decades, leads to a fateful night. The film takes place in regressive chronology, where we see the final acts of the main character and then we regress to key points in his life, which give us the reasons that lead him to do what he does. We start in a distant future, in terms of technology (a kind of Blade Runner), which I did not particularly liked, given the mood that the film pretends to have, at least in my opinion, and it's only acceptable by a small detail that later on (that is, in the past) is explained to the audience. There's strange moments and scenes, and nobody can really tell why they happened, or happened that way, at least. The best part is the cinematography, the grain throughout the film is beautiful (it was shot in 35mm) and creates an attractive noir atmosphere.
Think of Black Mirror Chinese version. Three short stories, each one depicting human flaws that's common among most of us. So well scripted and portrayed, don't miss this one if you have a chance to see it. Trust me, you'll come away moved.
French and foreign critics were eulogistic. I was then expecting a masterpiece. The actors certainly play perfectly but the scenario is deliberately but excessively PulpFiction-ed with a disturbing script. As a synthesis: disappointing and frustrating. 5/6 of 10.
In a Chinese city of the future, where happiness is the creed and suicide a secular sin, a pensioner jumps to his death from a tall building. What follows are 3 episodes from his life, told in reverse order. There is the last day of his life, his time as a police officer, and his time as a wayward youth. Each earlier-in-life episode explains his actions later in life. This is interesting storytelling, slightly marred for me by not realizing that there were only 3 main time periods, and therefore trying unnecessarily to figure out if we had moved to an earlier time. From the director Q+A at the Toronto International Film Festival, the English title is inspired by the book Country of Last Things, while the Chinese title is Happiness City (Ironically, I believe).
The movie is a string of three short films very cleverly put together. In the first one we meet an obsessed and violent man, and the next two show us how he got to be the bad person that he is. Eras change, technology changes, seasons change, actors change, the style of cinematography changes, but some things are constant throughout the movie: acting is great, smoking is super hot, and the system is as corrupt as ever. It gets a bit melodramatic towards the end, but this is a movie with great atmosphere, and it keeps your brain busy well after the credits have rolled.
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Les comédies sont conçues pour divertir par l'humour. Les formats populaires incluent la comédie de situation, l'humour à sketches, la comédie au travail et la comédie romantique.
Les œuvres d'action mettent l'accent sur l'excitation, le conflit physique, les personnages héroïques et une narration rythmée. Les œuvres d'aventure reposent souvent sur l'exploration, la survie ou des voyages épiques.
Les drames policiers suivent des enquêteurs, détectives, avocats ou journalistes qui résolvent des affaires criminelles. Les récits à mystère encouragent le public à découvrir des indices avec les personnages.
La science-fiction explore la technologie futuriste, les voyages spatiaux, l’intelligence artificielle, les réalités alternatives et les hypothèses scientifiques.
Le récit d'horreur crée le suspense par la tension psychologique, les événements surnaturels, les monstres ou les scénarios de survie.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.
L'animation rassemble des œuvres pour enfants, familles et adultes, allant du contenu éducatif aux récits dramatiques complexes.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.