There’s nothing else out there like Patrick Wang’s two-part, four-hour labor of love, “A Bread Factory,” and that’s wholly a good thing.
A lovably oddball, ticklish and moving tapestry about the struggle to save a beleaguered community arts center, its specialness derives not from a mercenary thirst to ignore convention, but rather a desire to refract humanity with passion and delight. Through bursts of comedy, poignancy, conflict, song, dance, and theatrical whimsy, what emerges is akin to a homespun symphony of soulfulness.
Seven years ago, Wang unveiled an astonishing debut, “In the Family,” itself an intimate opus (at three hours) of profound understanding, about a gay man’s fraught custody battle with his deceased partner’s prejudiced relatives. Embedded with moral clarity and carefully turned psychological tension, it came seemingly out of nowhere and heralded an emotionally astute new filmic talent. That it’s still little-seen seems wrong,...
A lovably oddball, ticklish and moving tapestry about the struggle to save a beleaguered community arts center, its specialness derives not from a mercenary thirst to ignore convention, but rather a desire to refract humanity with passion and delight. Through bursts of comedy, poignancy, conflict, song, dance, and theatrical whimsy, what emerges is akin to a homespun symphony of soulfulness.
Seven years ago, Wang unveiled an astonishing debut, “In the Family,” itself an intimate opus (at three hours) of profound understanding, about a gay man’s fraught custody battle with his deceased partner’s prejudiced relatives. Embedded with moral clarity and carefully turned psychological tension, it came seemingly out of nowhere and heralded an emotionally astute new filmic talent. That it’s still little-seen seems wrong,...
- 10/25/2018
- by Robert Abele
- The Wrap
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