Latest news with #LongDay'sJourneyintoNight
Yahoo
23-05-2025
- Entertainment
- Yahoo
Bi Gan's ‘Resurrection' Hits Cannes With 7-Minute Ovation At World Premiere
Bi Gan was back at the Cannes Film Festival with his new movie Resurrection after his Un Certain Regard entry Long Day's Journey into Night in 2018. The world premiere of the Chinese filmmaker's latest movie received a seven-minute ovation at the Grand Thèâtre Lumière. More from Deadline 'Resurrection' Review: Bi Gan's Dream Scenario Is The Perfect Cure For Insomnia – Cannes Film Festival Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Peter Bart: Cannes Strong On Debuts, Long On Ovations And Short On Surprises Yee Jackson, Shu Qi and Yan Nan star in the pic, which is at least partly set in a world where humanity has lost the ability to dream (and thereby live forever). There are some who rebel against this by living only in a dream world. In a prologue, one woman — 'gifted with the power to perceive these illusions for what they truly are,' according to the Cannes logline — goes into this latter world to pull one of the dreamers out. It leads, as Deadline's Damon Wise wrote in his review tonight, 'vignettes that don't seem to have any plot or resolution whatsoever, which is certainly cool as a concept but not so much fun to watch.' Click to read the full review. The film, which seemed to garner a tepid response in the room — or maybe the audience was tired after its 155-minute runtime — played late Thursday on the second-to-last night of the festival, with the ceremony that awards the Palme d'Or set for Saturday evening here to wrap up the 2025 edition. Best of Deadline Every 'The Voice' Winner Since Season 1, Including 9 Team Blake Champions Everything We Know About 'Jurassic World: Rebirth' So Far 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out?
Yahoo
23-05-2025
- Entertainment
- Yahoo
‘Resurrection' Review: Bi Gan's Dream Scenario Is The Perfect Cure For Insomnia
Arguably the worst film in competition in Cannes this year is a strong candidate for the festival's Best Director prize, and rightfully so. The follow-up to 2018's Un Certain Regard entry Long Day's Journey into Night — which asked viewers to don 3D glasses for its spectacular climax, an unbroken, hourlong tracking shot — Resurrection is both breathtaking at times and airless at others. During the first press show the aisles of the screening room resembled scenes from Otto Preminger's Exodus, and it was hard to tell how many of those who stayed in their seats were even conscious of that fact. It will have its admirers, for sure, and at least 40 minutes of it are pure visual genius, but it's hard to imagine a more willfully obscure movie that's been shown here since Wong Kar-wai's 2046. Bi Gan is certainly a stylist, and the film luxuriates in that, starting with a fabulous opening sequence that's rather let down by wordy, pretentious title cards that posit a world in which nobody dreams, and, as a result, they live forever. There are, however, holdouts; called 'fantasmers,' they refute the fakery of the 'real' world and prefer to live in fantasy, which leads to a short life expectancy (the film compares them to candles that do not burn and hence 'exist forever'). This is complicated by the introduction of 'The Big Others,' who police the fantasmers and 'keep time linear.' Yes, you read that correctly, no, it doesn't really make much sense, and, sadly, neither does it ever. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Bi Gan's 'Resurrection' Hits Cannes With 7-Minute Ovation At World Premiere The film begins with an extended prologue, in which a woman — named only as 'she,' and apparently a kind of Blade Runner figure — enters the dream realm in search of a fantasmer who lives in a what appears to be a spacious nuclear bunker. He looks like Nosferatu and is surrounded by other relics from silent cinema, like a big Georges Méliès moon. The woman captures him and releases him into the outside world with a very obvious refence to the Lumiere brothers' 1895 short The Sprinkler Sprinkled. From here, we're off to the races, with a series of extended tableaux that offer diminishing returns. RELATED: CANNES HUB / Photos, Cannes Studio & More The first is the most promising, a weird meta gangster/serial killer thriller, in which the fantasmer is chased by the police for a random murder. It involves mirrors, a theremin, the music of J.S. Bach and a suitcase that can end war. While completely baffling, it has an otherworldly charm that is utterly missing from the next sequence, in which a man clearing a temple comes face to face with his toothache ('The spirit of bitterness') that seems to have erupted from a stone Buddha. Next up is a con-man story, in which a card shark befriends an abandoned young girl and trains her in deception to fleece an old man. Finally, we have New Year's Eve 1999, and a young couple who are waiting for the end of the world. The girl might be a vampire, and — who knows? — she may well be. RELATED: 'Sound Of Falling' Review: Mascha Schilinski's Superb Feature Is A Masterclass In Ethereal, Unnerving Brilliance – Cannes Film Festival While the visuals are endlessly inventive, the narrative is simply just endless; none of these vignettes seem have any plot or resolution whatsoever, which is certainly cool as a concept but not so much fun to watch. Themes bubble up, but they almost instantly disappear; there are nods to film noir (including an explicit reference to Jean-Pierre Melville's The Samurai); the card-grift sequence seems to channel both Paper Moon and Takeshi Kitano's Kikujiro; while the final stretch would appear to be an homage to Godard's famous maxim that 'all you need to make a movie is a girl and a gun.' This could all be pie in the sky, and it probably is, but it's likely that Bi Gan doesn't really have anything that specific in mind, since the film is constantly in dialogue with the viewer, talking to us directly. In that respect, Resurrection (whatever that title really means) is oddly liberating, being a film that — it would appear — operates on dream logic and leaves interpretation up to the individual. It would be nice, though, to be thrown a bone once in a while. Bi Gan seems to know this and rubs it in right at the end with a joke about the film's 155-minute running time, which seems to the fantasmer — as the narrator says — to last 100 years. As the old saying goes, many a true word… Title: ResurrectionFestival: Cannes (Competition)Director-screenwriter: Bi GanCast: Yee Jackson, Shu Qi, Yan NanSales agent: Les Filmes Du LosangesRunning time: 2 hr 35 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
USA Today
24-03-2025
- Entertainment
- USA Today
Laura Prepon, ex Ben Foster accuse each other of 'inappropriate marital conduct' in divorce battle
Laura Prepon, ex Ben Foster accuse each other of 'inappropriate marital conduct' in divorce battle Ben Foster and Laura Prepon are shedding light on the breakdown of their relationship amid their ongoing divorce battle. Six months after Foster filed for divorce, the "Long Day's Journey into Night" star filed an amended complaint in the former couple's proceeding on March 18, according to a review of Davidson County Circuit Court records by USA TODAY on Sunday. Foster, who cited "irreconcilable differences" as the reason for his breakup with Prepon, accused his estranged wife of "inappropriate marital conduct" in the complaint, according to People magazine and In Touch. In response, Prepon detailed her own allegations of misconduct against Foster in a counter complaint on March 19, court records show. USA TODAY has reached out to representatives for Foster and Prepon for comment. Foster and Prepon married in 2018 after the pair's long-term friendship evolved into a romance around 2015. The actors share two children, 7-year-old daughter Ella and a 5-year-old son. Foster filed for divorce on Sept. 9, 2024, the same day the couple separated, according to court records reviewed by USA TODAY at the time. The Emmy-winning actor also asked the court to uphold their prenuptial agreement, "marital dissolution agreement and agreed parenting plan." Read more: Ben Foster files to divorce Laura Prepon after 6 years of marriage Laura Prepon accuses Ben Foster of 'habitual drunkenness' after Foster alleges 'inappropriate marital conduct' In his amended complaint, Foster claims Prepon's "inappropriate marital conduct" serves as additional grounds for the couple's divorce, according to People and In Touch. While Foster didn't specify Prepon's alleged behavior, he reportedly described her conduct as "cruel and inhuman treatment" that makes living together "unsafe and improper." According to the outlets, Foster also requested that the court determine a joint custody schedule for the former couple and the amount of child support he will pay Prepon. Quinta Brunson files for divorce: 'Abbott Elementary' star splits from husband Kevin Anik Prepon denied Foster's allegations and demanded "strict proof" of her alleged misconduct in the March 19 filing, People and In Touch report. The "That '70s Show" star also reportedly accused Foster of "cruel and inhuman treatment" during their marriage, alleging her estranged husband was "guilty of habitual drunkenness," according to the outlets. In contrast to Foster's stance on child custody, Prepon is asking the court to designate her the "primary residential parent" as the pair are not "fit and proper parents to be awarded the joint care, custody, and control of the parties' minor children," per People and In Touch. Contributing: KiMi Robinson, USA TODAY
Express Tribune
01-03-2025
- Entertainment
- Express Tribune
Jessica Lange finally addresses ‘AHS' comeback rumors.
Jessica Lange has made it clear she has no plans to return to American Horror Story. When asked about a potential comeback during the premiere of her new film Long Day's Journey into Night, Lange responded bluntly: 'Oh, Christ, no!' Speaking with Irish radio station Spin 1038, the Emmy-winning actress dismissed any speculation, saying, 'I haven't done it for more than 10 years, 12 years, so, no, I'm not doing it.' Even when pressed about whether she'd consider appearing in the rumored final 13th season, she simply replied, 'No,' with a chuckle. Lange was a central figure in the first four seasons of FX's hit horror anthology, portraying iconic roles like Constance Langdon and Fiona Goode. Her performances earned her two Primetime Emmy Awards. She later made a guest appearance in American Horror Story: Apocalypse (2018), reprising her Murder House character, Constance. While Lange has ruled out a return, AHS creator Ryan Murphy hinted in an interview last fall that longtime series stars Sarah Paulson and Evan Peters might come back for season 13. The upcoming season is currently in development, though details remain under wraps. With Lange's definitive response, it's clear she has moved on from the horror franchise, leaving fans to speculate whether American Horror Story will bring back other fan-favorite actors for what could be its final chapter.
