Am I Really Up To Now Within 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 emerges radical film treatment in "Am I Really Up To Now Within the Madhouse?" Among China's most inventive rising filmmakers, Li Hongqi ("Winter Vacation"), flexes his filmmaking muscles by rethinking the music activity doc in the earth-up. Li's typically deadpan wit leads to within unforeseen ways, which will strike guitar guitar chords with progressive and music-niche fests worldwide. A Redflag Films/Egosum production. Produced by Alex Chung. Initially, nothing seems particularly unusual in regards to the first moments from the film of a band that fans within the civilized world have recognized for merely a couple of years, climax been a fixture of where you live now China's alt scene for more than ten years. The bandmates (singer Yang Haisong, guitarist Xu Bo, bassist Shi Xudong and drummer Jonathan Leijonhufvud, on crutches getting a broken leg) spend some time in hotels, speaking away. Nevertheless it soon becomes apparent the scene lacks any appear sync rather, various animal noises replace what dialogue there can be. This opening sequence might take getting used to, much like possibly with any opening in the Li film, which always starts by throwing the viewer off-kilter. When the bandmates hit your truck-clogged highway inside their cozy, humble van, their music will get control, and Li edits the sequences with techniques that allows the tunes (in subtitled Mandarin) to see from starting to finish. The hypnotic flow in the journey meshes perfectly while using growling, semi-abstract washes of appear and words that characterize P.K. 14's style (the band's title is short for "Public Kingdom for Teens"). The images never work as mere backdrop, but form a picture from the progressively hyper-industrialized China moving. The film initially follows a pattern of images in the group on the road (colored), and off course (in black-and-white-colored), but changes emphasis and tone once the focus is about the gigs, which Li shoots and constructs in characteristically unconventional modes. To start with, your dog soundtrack continues just when music might be anticipated, then when the music activity is heard, it's deliberately from sync while using picture. Even this disconnect isn't entirely apparent prior to the finish from the extended, ultra-extended shot in the hard-working group introduced by Yang's impassioned vocals. This fascinating separation of image and appear makes "Am I Really Up To Now Within the Madhouse?" (the title of one of the group's most broadly used tracks) probably the most striking and distinctive films about artists connected having a stripe lately. Once the group's music is publish-punk, then Li's filmmaking here's publish-Godard, meaning of how the auteur reframed and rejiggered the Moving Gems within the "One Plus One (Sympathy for your Demon)." Li's lensing is resolutely rough and unrefined, offering up a substantial different try looking in the fixed, neutral perspectives within the narrative features. Pic will certainly open a completely new audience for your band, additionally to the offshoot, the higher lyrical two-person unit Dear Eloise, heard here on some lovely tracks that bring fine sonic variety for the overall soundtrack.Camera (color/B&W, widescreen, DV), Li music, P.K. 14, Dear Eloise production designer, Qin Yurui appear (stereo system 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 number newsroom at news@variety.com