By Mónica Delgado

The conception and perception of time that the young filmmaker Bi Gan proposed in his first feature Kaili Blues, is prolonged in an oneiric state in his new work, presented in Un Certain Regard at Cannes. A disperse search of a woman becomes a treaty on memory and how is it conceived, as an illusion, nightmare or, as one of the characters says in a part of the film, as dreams that couldn’t come true. In long day’s journey into night, Bi Gan returns in a formidable way, to some motifs of his last feature: time and the unavoidable figure of the clock, interior that shelter ghost or stylized beings, and a character that returns to look for a being of the past from the uncomfortableness of that something which can’t be caught.