Note: as this film is under embargo until its release in the Seattle area, here are exactly 75 words.
Director and critic Tavernier amiably narrates, with ample clips and sharp insights, a history of his cinephilia. After a formative encounter with Becker, we circle magically from Renoir through Gabin, Carné and Prévert, Jaubert and Kosma, then outward to find Constantine, Berry, Gréville and more. Each discovery leading to a new object of obsession. The last hour (Melville-Godard-Sautet) is more scattershot, reflecting the happy chaos of a young adulthood spent haunting Paris’s ciné-clubs and journals.
An Aaron Kwok movie is opening on Seattle Screens for the second time in three weeks, as the now venerable pop star/actor follows up his taciturn performance as the cooly rational police bureaucrat in Cold War 2 with a turn as a compulsive gambler with unresolved family issues in Matt Wu’s One Night Only. It’s the Taiwanese Wu’s directorial debut and also stars his wife, Yang Zishan, who starred in Three actress Zhao Wei’s directorial debut So Young a few years ago, an unrelated sequel to which called Never Gone opened last week at the Pacific Place. Like a lot of debut films, One Night Only is positively bursting with ideas and influences, its a work of exuberant cinephilia, pulling together elements of films as disparate as Nights of Cabiria, Rebel Without a Cause, 2046, One Night in Mongkok, the Fast and the Furious series and what I imagine Nicholas Sparks films are like into a movie that resolutely refuses to simply be one thing, but rather changes shape every reel or so in a way that never quite holds together, but is nonetheless fascinating in its audacity. It recalls last year’s under-the-radar gem of diasporic Chinese cinema, Go Away Mr. Tumor, a film that juggled the demands of the cute CGI rom-com and the cancer melodrama far more successfully than it had any right to. One Night Only doesn’t hang together quite as well, or at all even, but it’s got more energy than almost any movie you’re likely to see at the multiplex this summer.
Continue reading “One Night Only (Matt Wu, 2016)”