In Bi Gan’s cinematic world, there is no use to divide time into the past, present, and future—meaning spaces that presuppose different temporality can be connected, juxtaposed, or coexist. The simultaneous existence, or state, of the asynchronous is precisely written into Bi Gan′s feature, Kaili Blues. After release from prison, Chen leaves Kaili and heads to Zhenyuan in search of his nephew Weiwei. On the way, he arrives at the fictional village of Dangmai. There, Chen encounters characters from the past and the future, or from the world of imagination and dreams. At this time, the camera moves through Dangmai′s time and space with an overwhelmingly grandiose long take, and in the meantime, the characters and events meet, diverge, and meet again. In Bi Gan’s world, where the desire for continuous narrative is removed, the characters transcend even the world of death to lead different lives and live on. (JEONG Jihye)