Shall We Be Really To Date In the Madhouse? (Women li fengrenyuan jiujing you duo yuan?)

Directed, edited by Li Hongqi.With: Yang Haisong, Xu Bo, Shi Xudong, Jonathan Leijonhufvud. (Mandarin dialogue)The epic journey of gifted Chinese publish-punk band P.K. 14 is offered radical motion picture treatment in "Shall We Be Really To Date In the Madhouse?" Among China's most inventive rising filmmakers, Li Hongqi ("Winter Vacation"), flexes his filmmaking muscles by rethinking the background music doc in the ground-up. Li's typically deadpan wit results in within unpredicted ways, that will strike guitar chords with progressive and music-niche fests worldwide. A Redflag Films/Egosum production. Created by Alex Chung. At first glance, nothing appears particularly unusual concerning the first moments of the film in regards to a band that fans in the western world have noted for only a few years, climax been a fixture of landmass China's alt scene for over a decade. The bandmates (singer Yang Haisong, guitarist Xu Bo, bassist Shi Xudong and drummer Jonathan Leijonhufvud, on crutches having a damaged leg) spend time in hotels, talking away. However it soon becomes obvious the scene lacks any seem sync rather, various animal noises replace what dialogue there might be. This opening sequence may take getting accustomed to, just like possibly with any opening inside a Li film, which always begins by tossing the viewer off-kilter. Once the bandmates hit the18 wheeler-clogged highway within their cozy, humble van, their music gets control, and Li edits the sequences in ways that enables the tunes (in subtitled Mandarin) to experience from beginning to end. The hypnotic flow from the journey meshes perfectly using the growling, semi-abstract washes of seem and words that characterize P.K. 14's style (the band's title is short for "Public Kingdom for Teens"). The pictures never function as mere backdrop, but form an image of the progressively hyper-industrialized China moving. The film initially follows a pattern of images from the group on the highway (colored), and off course (in black-and-whitened), but changes emphasis and tone when the focus is around the gigs, which Li shoots and constructs in characteristically unconventional modes. To begin with, your pet soundtrack continues just when music could be anticipated, so when the background music is heard, it's deliberately from sync using the picture. Even this disconnect is not entirely obvious before the finish of the extended, ultra-lengthy shot from the hard-working group brought by Yang's impassioned vocals. This fascinating separation of image and seem makes "Shall We Be Really To Date In the Madhouse?" (the title of among the group's most widely used tracks) one of the most striking and distinctive films about music artists associated with a stripe recently. When the group's music is publish-punk, then Li's filmmaking here's publish-Godard, meaning of the way the auteur reframed and rejiggered the Moving Gemstones in the "One Plus One (Sympathy for that Demon)." Li's lensing is resolutely rough and unrefined, offering up a significant different look in the fixed, neutral perspectives in the narrative features. Pic will definitely open a brand new audience for that band, in addition to its offshoot, the greater lyrical two-person unit Dear Eloise, heard here on some lovely tracks that bring fine sonic variety towards the overall soundtrack.Camera (color/B&W, widescreen, DV), Li music, P.K. 14, Dear Eloise production designer, Qin Yurui seem (stereo system), Guo En'ru. Examined at Vancouver Film Festival (Dragons and Tigers), March. 3, 2011. (Also in Hong Kong Film Festival.) Running time: 85 MIN. Contact the range newsroom at news@variety.com