In a society where people stop dreaming to extend their lifespan, some dangerous individuals still dream, warping the fabric of time. We experience five dreams, for each of the senses, each chronologically representing a period of cinema.
In a society where people stop dreaming to extend their lifespan, some dangerous individuals still dream, warping the fabric of time. We experience five dreams, for each of the senses, each chronologically representing a period of cinema.
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Fun Facts
Bi Gan’s follow-up to Long Day’s Journey is longer than his last film, carved into six chapters that each pay homage to a different epoch of Chinese cinema (silent-era German-expressionist, 1940s noir, 1990s Wong-Kar-wai neon, etc.) while the same two actors shapeshift through them.
Anthony Gonzalez (M83) flew to Chongqing, sampled cranked music-boxes, Chongqing rain on tin roofs, and 35 mm projector chatter, then fused them into synth-washed lullabies that diegetic projector noise later drowns out—soundtrack as dream erosion.
Crew could only roll once every twilight (continuity of street-lights and neon) using DJI Ronin 4D; if a single extra looked at camera or a bulb flickered they scrapped the night and went home. Final print uses Take 11—you can still spot a real pedestrian who briefly stares, left in because Bi Gan liked the meta-breach of dream logic.