Futuristic and fragmented, the film does not tell a story in the conventional sense, but plants shards of it in the viewer’s mind, creating disorientation within a labyrinth of images, times, and scattered souls. It does not begin at one point nor end at another; rather, it takes shape like a surrealist poem, attempting to capture what remains of a dream. The final dreamer, played by Jackson Yee, is the only man capable of slipping into the unconscious, in a society that has forgotten how to dream—where dreaming itself has become an act of science fiction. Miss Shu (Shu Qi) enters his dreams using her ability to perceive illusions.  The film is composed of six chapters, each tied to one of the five senses, with the soul as the final one. Each chapter serves as a gateway to a parallel world. The central character does not merely live through time, but embodies it—moving from one body to another, from one feeling to its opposite, as though dreaming were her only means of survival. The film took over a year to shoot, punctuated by many pauses in search of inspiration. The visual style proposed by the Chinese filmmaker Bi Gan goes beyond experimentation; it feels like an attempt to create a cinematic language of its own, where sharp shadows intersect with unusual angles, and muted colors blend with shifting light. The director, now in his thirties, draws on the legacy of German Expressionist cinema, yet does not settle for mere citation, he reshapes it to fit his own obsessions. Behind the camera, cinematographer Dong Jingsong works to transform reality into a tangible fantasy. The corridors open onto states of mind, while light itself becomes deceptive. Each shot feels like a dream the camera captured in a fleeting lapse of time. Bi Gan sought a sensory experience freed from rational interpretation, arriving at a cinematic homage steeped in symbols, riddles, and allusions, transforming the act of watching into a fully immersive experience.Hauvick Habéchian