Bi Gan's debut film "Kaili Blues" at Northwest Film Forum: Jun 23 - 26

As a forum for the vanguard in contemporary narrative cinema, the Locarno Film Festival has emerged as one of the most important Western festivals to support Asian cinema, particularly works without commercial distribution prospects. For mainland Chinese filmmakers, the affirmation and support from the global independent film industry has become more crucial in recent years. Particularly as the government under President Xi Jinping continues to carry out the broadest crackdown on free expression in the "25 Years of Amnesia" since the events that culminated in the Tiannanmen Square protests of 1989. By way of example, China’s most prominent arthouse director, "A Guy From Fenyang" by the name of Jia Zhang-ke, would not have had the global reach of a "Filmmaker Giving Voice to Acts of Rage in Today’s China", without the support of the international festival circuit. Those filmmakers are also aware that as recently as 2010, Locarno awarded the Golden Leopard, it's top prize, to an unknown Chinese director for Li Hongqi's “Winter Vacation”. Further bolstering it's role in supporting independent film from mainland China and broader Asian subcontinent, Locarno established “Bridging the Dragon", a traveling workshop aiming to foment co-production partnerships for both European and Chinese films. So it is that "Chinese Independent Filmmakers Look to Locarno Festival" in growing numbers and diversity. Ranked among Film Comment's Best Undistributed Films of 2015, Bi Gan's "remarkable arthouse debut" swept up Locarno's Best New Director prize, it's screening in the festival hailed as one of the most assured directorial debuts of the decade by both Film Comment and Cinema-Scope.

Ostensibly the story of a middle aged doctor and ex-con searching for his young nephew, "Kaili Blues" offers up an increasingly dreamlike elegy for bygone Miao traditions and sweeping changes seen in the landscape of China itself. Most striking is the emphatically experimental detour in it's middle passage, as the narrative proceeds into an extended exercise in cinematic time and space. The film's opening material is elliptically edited, the thinnest gossamer of connections implied as characters come and go, with the action flowing between points and persons of interest in Chen Sheng's life. Methodically these brief encounters and dialog amass a weight and accumulate hinting details of Chen's circumstance across various scenes and settings. From an obliquely referenced prison stint, to his connection with another ex-gang member Monk (himself with a violent past and fixation on timepieces), and finally allusions to his Chen's early abandonment as a child. In doing so it takes on an increasingly oneiric quality, one in which relationships and emotions correspondence are suggested, rather than established, often via narrated readings of Chen’s poetry. Delivered through extended shots and images that are achingly melancholy, and teasingly cluttered, "Kaili Blues: A Dream without Limits" describes the subtropical province of Guizhou, a mountainous, lush region of sporadic human habitations. Intriguing associations of the narrative's emotional landscape can be found in the depicted real-world recurrences of transition and disrepair. Construction is rampant on roads and buildings, almost every vehicle or appliance is shown to be in a state of erratic acting out, breakdown or overhaul. Considering the "Great Uprooting: Moving 250 Million into China’s Cities" expected to unfold over the course of the next decade, one doesn't need to extend these ideas and analogies far to conceive them applying to a country in flux, and to a people in dislocation. More than just the material livelihood of those involved is at stake, matters of the heart, home and spirit are no doubt tied up in the "Pitfalls that Abound in China’s Push From Farm to City". Journeying through this landscape, "Kaili Blues" sensibility for the subject and setting of this abstract chronicle in persons lost and a past revealed, is to quote Mark Chan's Short Take for Film Comment; "one of the rare moments in recent cinema where ostentatious screen-craft proves equal to the task of channeling a multitude of these inexpressible sorrows".

Earshot Jazz presents Mats Gustafsson's The Thing & Mats Eilertsen Trio with Harmen Fraanje and Thomas Strønen at Poncho Hall and The Royal Room: June 22 & 28

Again like in 2014, Seattle's Earshot Jazz organization has insightfully culled from Vancouver International Jazz Festival's expansive global program of all things Jazz, including a set of trios from the cutting edge of the Scandinavian scene. It's a rare west coast opportunity to hear the purveyors of this sound, informed as much by the fifty years of European Free Jazz, as the equally kinetic influences of post-Punk, Noise Music culture and by degrees the more tempered, "Explorations of Krautrock and it's Kosmische Fringe". Johannes Rød's recent, "Free Jazz and Improvisation on Vinyl 1965-1985", published by Norwegian vanguard imprint Rune Grammofon, traces independent Free Jazz and Improv labels between 1965 and 1985, from the beginning of ESP-Disk through to the ascendant digital formats. With some 60 labels are covered in the volume, and forewords by Mats Gustafsson and label founder, Rune Kristoffersen, there are few better single introductions to this particular brand of what The Guardian's Richard Williams calls, "Norwegian Blues". The significance of the ECM label to the extended Scandinavian scene and it's embracing of Classical, Jazz, Improvisation and Experimentation, can't be overstated. Dana Jennings "ECM: CDs Know that Ears Have Eyes" for the New York Times mines the ensuing four decades following those detailed in Rød's chronicle. Another significant marker of in "The Sound of Young Norway" came in the form of ECM sister label's 150th release, The Quietus hailing the farseeing benchmark of graphic and sonic synergia that was, "Rune Grammofon: Sailing To Byzantium". At the epicenter of it's players, Nordic Council Music Prize recipient Mats Gustafsson has carved out a space central to connecting the Scandinavian scene with the larger global Improv and Out Rock cultures. Playing and collaborating in and out of the studio he's done more than hold his own in duo and large ensemble lineups with luminaries like guitar legend Derek Bailey, saxophone colossus Peter Brötzmann and extended technique and electro-acoustic pioneer, Evan Parker. Gustafsson has also found contemporaries at the bleeding edge of their respective genre zones outside of the Jazz world. Japanese polymath Otomo Yoshihide, songwriter and musique concrete composer Jim O'Rourke, and the foremost American underground rockers of the 1990s, Sonic Youth, are among their number.

Marking his 50th birthday with sets by The Thing, Rune Grammofon compatriots, Fire! and comrades in arms from the global Free Jazz scene including Ken Vandermark, Paul Lovens and Christof Kurzmann, this month Trost release a document of the incendiary celebrations as the "Peace & Fire" four disc box set. Gustafsson known for his dramatic wielding of the bass and contrabass saxophones, his command of the oversize lumbering horn, and it's lower register delivering the sort of weighty, dense notes that evoke the thunderous resonance of foghorn diaphones at sea. Scattershot with short truncated upper register phrases and showers of overtones that cut through the tide of low frequency swells. This same kind of invigorating, fiery, at times beguiling playing was heard on the occasion of his bandmate and centerpiece of the contemporary Scandinavian scene, drummer Paal Nilsen-Love. Memorable performances in both Seattle and the Vancouver International Jazz Festival in various settings over the past half-decade, including last year's hours-long explosive exhibition of Nilsen's Large Unit hosted by Earshot. Later this month Earshot brings Gustafsson with his central duo of Ingebrigt Håker Flaten and Paal Nilssen-Love to the Wayne Horvitz founded, The Royal Room in a lineup with Thomas Johansson's Cortex. The following week at Cornish Poncho Hall, another central trio of the Scandinavian scene playing in a more understated meditative vein, bassist Mats Eilertsen's eloquence and sensitivity is matched by pianist Harmen Fraanje and the soaring moodscapes of Food's percussion and electronics wing, Thomas Strønen. Their sound is a more timorous, searching affair than the sonic incursion of Gustafsson and company. Central to it's fabric are piano and bass studies in rhythm and texture that circumnavigate the orthodoxies of piano trio playing, with Strønen's drumming acting in eloquent counterpoint. The trio's recordings for the breakthrough indie Hubro label assemble what Jazzwise called "contemporary European jazz of the highest quality, in it's weave a minor galaxy of young stars”, including associates from ECM's highly regarded Tord Gustavsen Trio.
Photo credit: John Kelman

Lau Nau new album "Hem. Någonstans" & West Coast Tour: May 26 - June 4

Documenting the emerging new Finnish underground as a focal point and locus of the scene, the vast majority of the Fonal Records releases have been recorded, mixed and mastered at the label's own in-house SS-Palace Studio. Independent institution in every sense, founder Sami Sänpäkkilä has run label from his home in Ulvila since it's inception in the mid-1990s with an extended family involved in every aspect of the label's process, from assembling books to packaging records. Releasing a roster of largely psychedelia influenced folk music and abstract fusions with ambient and tonal enterprises, the Fonal sound came to assemble around the vanguard of Jan Anderzén's "chemical friends" project, Kemialliset Ystävät. Ensconced in it's tapestry of Northern European folk and 1970s improvisational rock traditions can be heard influences ranging as wide as interstellar mythology of Karlheinz Stockhausen and large ensemble Afro-Futurist explorations of Sun Ra. Gathering momentum and a growing body of like-minded artists from the surrounding Nordic cultural landscape by the early 2000s, Matthew Wuethrich delivered the first extensive mapping of Finland's new folk underground for The Wire's December 2004 issue. In pieces for various publications over the course of the decade, Wuethrich and Jordan N. Mamone becoming cultural emissaries of sorts for Finland's new strange vein of folk, the "Fonal Records: A Logo, A Sound, A Goal – but No Ads" and overview of "Finland Calling" for Dusted offering some of the first interviews outside of Finland with the scene's founding players. Their work at the time almost the singular english language resource covering the extended collective enterprises under the label's banner outfits of Kemialliset Ystävät, Avarus, Paavoharju, Tomutonttu and Sänpäkkilä's own ES.

Foremost among the scene's solo voices, the obtuse wanderings of Islaja's solemn lyrical explorations are a strong counterpoint to the more distended psychedelia of her label compatriots. A intimately inward-looking music mapping the physical and psychic landscape of rural Finland; mountains, clouds sun and sea make up Merja Kokkonen's thematic and lyrical geography. Another of the label's idiosyncratic, finely honed soundworlds can be heard in the music of Laura Naukkarinen. Her breathy open songforms built of fragile, spectral states center around ambient improvisation and extended drone exercise. Arriving with significant fanfare, the finesse of the debut "Kuutarha" garnered inclusion in the 50 Albums of the Year in The Wire's 2005 Rewind. Employing strings, dulcimer and an array of acoustic instruments Lau Nau's ear for protracted tonal explorations was further realized in the following "Nukuu" of 2008. Embracing psychedelia and northern folk traditions as much as the avant-garde of mid-Century minimalism, the course of Naukkarinen's creative arc has most recent arrived at producing scores for Benjamin Christensen's "Haxan", Jean Epstein's "The Fall of the House of Usher", Robert Wien's "The Cabinet of Dr. Caligari" and the seminal horror of Victor Sjöström's haunting, "The Phantom Carriage". This affinity for the contained world's of early silent and Expressionist cinema has informed her most recent, ”Hem. Någonstans”. An instrumental album spinning variations around Naukkarinen's soundtrack to Lotta Petronella's similarly named documentary film, ”Home. Somewhere”, it's focus the quietude and small events that comprise the lives of those living in a remote Finnish archipelago. Later this month and next, Lau Nau will be bringing her musical mirroring of the subtly experimental documentary film on a west coast tour, with a series of dates in Vancouver, Seattle, Portland and a span of events in the San Francisco Bay Area, fittingly hosted in smaller, intimate environments and community cultural centers.

Seattle International Film Festival: May 19 - Jun 12

Seattle International Film Festival once again arrives bringing a spectrum of cinema from across the world! This year like the string of years since 2008, the festival sees a qualitative diversity dip in the percentage of all things foreign cinema, auteur, arthouse, experimental and progressive. These were content agendas that once had prominence within SIFF, making it a festival that approached the per-capita in these areas of Toronto and New York. Those times are now decades in the past. That said, this year's festival isn't as painfully omissive as 2011 or 2010 for that matter. We saw string of years that suggested relief from the lackluster programming described above which waned a bit in 2012 and a further positive trend in that direction in 2013. For the 2014 festival, their 40th Anniversary was celebrated with SIFF's strongest programming in almost a decade, suggesting a renewed vision for the festival. Nonetheless this year, like 2015, we're again seeing that same glut of middle ground contemporary romances and knowingly clever dramas for the sub-Sundance sect. One can speculate that this middle-road approach to programming has been taken to entice some imagined Northwest demographic out of their suburban hobbles and inner-city condos. The inclusion of showcases in the outlying areas of Bellevue, Kirkland and Renton are indicative of such. One can't help but consider these factors alongside the changing economic and cultural landscape of Seattle and what may be SIFF's bid at strengthening financial ties with it all.

By way of example, two west coast festivals that have produced smaller, yet significantly more qualitative festivals have established a standard that can clearly be seen from year to year. The San Francisco International Film Festival concluding just this week features not only a diverse body of work, ranging from commercial entertainment to the experimental, embracing both award winning auteur works, genre film and potential indie breakouts. A cross section of the programming can be seen in their selection of new historic documentary by Sergey Loznitsa "The Event" and the superior of last year's two haunting dramas by Kiyoshi Kurosawa "Journey to the Shore". Yorgos Lanthimos Jury Prize winning film "The Lobster", a decidedly "Kafka-esque Meditation on Romance and Estrangement" premiered at Cannes a year ago now and will have a brief run at Sundance Cinema along with Matteo Garrone's adaptation of Giambattista Basile's bawdy Neopolitan "Tale of Tales", adding some "Grown-Up Twists to the Fairy Tale". The festival also hosted what from the outset appears a traditional melodrama by Ryusuke Hamaguchi, "Happy Hour", belies a deeper core deserving of it's Film Comment mention in their Best Cinema from Asia feature. This year's SFIFF also saw Christopher Doyle's "Hong Kong Trilogy" and Lewis Klahr's cinematic archeology of the American unconscious, his "66" employing the unlikeliest of tools in it's telling of mass culture as myth. Happily there is some shared programming between the festivals. Zhang Yang's most recent "Paths of the Soul", Wener Herzog's much anticipated "Lo and Behold: Reveries of the Connected World" and Vitaly Mansky's documentary on the fashioning of a North Korean family of "model citizens", all grace Seattle as well. Other highlights screening outside of the festival in the coming weeks include the Freudian psychedelia of Eiichi Yamamoto's "Belladonna of Sadness" and another of Naome Kawase's hushed familial melodramas, "Sweet Bean".

Screening in SFIFF and outside of the festival at SIFF Cinema, Ben Wheatley's adaptation of JG Ballard's "High-Rise" is ostensibly the most promising thing both festivals share in their programming this month. The Guardian's film of the week review going some way to how it is that the challenges of "High-Rise Takes Dystopian Science Fiction to a New Level". In a fashion, "The Nightmare of JG Ballard's Towering Vision" even proved daunting to the unmade Nicolas Roeg production of the late 1970s. Our neighboring city to the south, though smaller in scale and less urban in some sense, has a strong showing in their Portland International Film Festival again this year. It should be established that with each of them concluding some time before, the content of in each of these festivals was made available to the programming directors at SIFF. They simply made choices otherwise. Which begs the question, what kind of thinking is behind choosing to not program something like the pathos of an Otaku's transformation seen in Masaharu Take's "100 Yen Love"? Or Gabriel Ripstein's Best First Feature award-winner, "600 Miles" from this year's Berlin International Film Festival? Other global festival highlights featured in PIFF, include Jacques Audiard's Palme d'Or winning "Dheepan" and Nanni Moretti's "Mia Madre". With some unexpected surprises like Keiichi Hara's animated period feature, "Miss Hokusai" and another Cannes award winner in Ida Panahandeh's "Nahid". Portland also saw Patricio Guzmán's most recent meditation on the colonization of Chile, "The Pearl Button", festival favorite Hong Sang-Soo's "Right Now, Wrong Then" and Ben Rivers' epic, experimental merging of documentary and fable, "The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers". All of which are absent from this year's programming in Seattle.

Seattle International Film Festival in the past has existed as a focal point of visionary cinema curatorialship, with the resources, funds and legacy to be a hugely influential institution. From the above one can can adduce San Francisco and Portland producing festivals of a caliber that SIFF has seemingly un-learned as they continue to go astray of the standard of the international festival circuit embodied by New York, Cannes, Toronto, Rotterdam, Vienna, Venice, Berlin and Locarno. But there remain a handful of legitimate, original, well crafted cinema to be found in here too. Largely culled from the Contemporary World Cinema, Archival Presentations, Alternate Cinema, Documentary Films, Midnight Adrenaline, Catalyst, and New Directors sections, this year I found some approximate 20 or so films of interest, curiosity or gravitas that I plan to attend. These run the spectrum from directors of note, archival restorations and new developing artists. As a consequence the majority of the titles listed below are simply films of curiosity, rather than considered essential viewing. Not the least compelling year in recent memory, but not approaching the par established with SIFF's own stellar run spanning the decades of 1987-2007. It must also be said, this year's SIFFX sidebar does little in the way of compensating for these programming oversights. Nonetheless, I continue to be enthused about their home at the SIFF Cinema Uptown and expanded screens between the recently acquired SIFF Cinema Egyptian and Film Center. Their curation for these year-round venues has exhibited the scope of SIFF, with this year's Recent Raves series exemplifying a visionary path forward for the institution. Unfortunately the 42nd Seattle International Film Festival doesn't continue this high standard.

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Tuesday, May 17

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7:00 PM - Ben Wheatley "High-Rise"

SIFF Cinema Uptown
HIGH0517B

http://myaccount.siff.net/cinema/reserve.aspx?fid=261&id=34443

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Friday, May 20
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4:00 PM - Terence Davies "Sunset Song"
SIFF Cinema Egyptian
SUNS0520

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33757

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Friday, May 20
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6:00 PM - Hirokazu Kore-eda "Our Little Sister"
SIFF Cinema Uptown
OURL0520

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33612

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Saturday, May 21

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4:00 PM - Eiichi Yamamoto "Belladonna of Sadness"

Northwest Film Forum

http://nwfilmforum.org/live/page/calendar/3914

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Saturday, May 21
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6:30 PM - James Schamus "Indignation"
AMC Pacific Place 11
INDI0521

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33844

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Saturday, May 21
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9:00 PM - Mauro Herce "Dead Slow Ahead"
SIFF Film Center
DEAD0521

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=34075

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Sunday, May 22
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1:30 PM - Douglas Sirk "A Scandal in Paris"
AMC Pacific Place 11
SCAN0522

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33618

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Sunday, May 22
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9:00 PM - Bence Fliegauf "Lily Lane"
SIFF Cinema Egyptian
LILY0522

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33769

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Monday, May 23
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3:30 PM - Yaelle Kayam "Mountain"
SIFF Cinema Uptown
MOU0523

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33697

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Monday, May 23

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7:50 PM - Matteo Garrone "Tale of Tales"
Sundance Cinema

https://www.sundancecinemas.com/coming_soon.html

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Tuesday, May 24
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7:00 PM - Orson Welles "Chimes at Midnight"
SIFF Cinema Egyptian
CHIM0524

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33772

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Wednesday, May 25
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6:00 PM - Helen Walsh "The Violators"
SIFF Cinema Uptown
VIOL0525

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33919

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Thursday, May 26
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3:00 PM - Shunji Iwai "A Bride for Rip Van Winkle"
SIFF Cinema Egyptian
BRID0526

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33776

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Thursday, May 26
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9:30 PM - Marcin Wrona "Demon"
SIFF Cinema Uptown
DEMO0526

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33558

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Friday, May 27
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4:00 PM - Zhang Yang "Paths of the Soul"
SIFF Cinema Uptown
PATH0527

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33559

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Friday, May 27
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9:00 PM - Marta Minorowicz "Zud"
SIFF Cinema Uptown
ZUDD0527

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33704

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Saturday, May 28
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11:00 AM - Ernst Lubitsch "Heaven Can Wait"
SIFF Cinema Egyptian
HEAV0528

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33783

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Sunday, May 29
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3:30 PM - Ti West "In a Valley of Violence"
Lincoln Square Cinemas
INAV0529

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33793

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Sunday, May 29
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9:30 PM - Lucile Hadžihalilović "Evolution"
SIFF Cinema Uptown
EVOL0529

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33638

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Monday, May 30
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7:10 PM - Yorgos Lanthimos "The Lobster"
Sundance Cinema

https://www.sundancecinemas.com/coming_soon.html

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Tuesday, May 31
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6:00 PM - Naotaro Endo "Tsukiji Wonderland"
SIFF Cinema Uptown
TSUK0531

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33646

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Wednesday, June 01
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9:15 PM - Vitaly Mansky "Under the Sun"
SIFF Cinema Uptown
UNDER0601

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33722

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Thursday, June 2
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8:15 PM - Naome Kawase "Sweet Bean"
Northwest Film Forum

http://nwfilmforum.org/live/page/calendar/3972

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Friday, June 03
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9:30 PM - Jaco Van Dormael "The Brand New Testament"
SIFF Cinema Egyptian
BRAN0603

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33808

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Saturday, June 04
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2:00 PM - Fernando Ayala "The Bitter Stems"
SIFF Cinema Egyptian
BITT0604

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33812

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Saturday, June 04
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8:00 PM - Werner Herzog "Lo and Behold, Reveries of the Connected World"
SIFF Cinema Uptown
LOAN0604

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33578

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Sunday, June 05
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2:30 PM - Ferdinando Cito Filomarino "Antonia"
SIFF Cinema Uptown
ANTO0605

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33734

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Sunday, June 05
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8:30 PM - Małgorzata Szumowska "Body"
SIFF Cinema Uptown
BODY0605

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33547

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Monday, June 06
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7:00 PM - Sylvia Chang "Murmur of the Hearts"
SIFF Cinema Uptown
MURM0606

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33588

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Monday, June 06
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9:30 PM - José Luis Guerin "The Academy of Muses"
AMC Pacific Place 11
ACAD0606

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33908

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Tuesday, June 07
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9:30 PM - Sion Sono "Tag"
SIFF Cinema Uptown
TAGG0607

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33592

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Wednesday, June 08
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7:00 PM - King Hu "Dragon Inn"
SIFF Cinema Egyptian
DRAG0607

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33820

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Thursday, June 09
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3:00 PM - Jia Zhang-ke "Mountains May Depart"
SIFF Cinema Uptown
MOUNT0609

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33826

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Thursday, June 09
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7:00 PM - André Téchiné and Céline Sciamma "Being 17"
SIFF Cinema Egyptian
BEIN0609

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33827

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Friday, June 10
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7:00 PM - Mark Cousins "I am Belfast"
SIFF Film Center
IAMB0610

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=34084

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Saturday, June 11
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8:45 PM - Kiyoshi Kurosawa "Creepy"
SIFF Cinema Egyptian
CREE0611

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33833

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Sunday, June 12
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4:30 PM - Gilles Legrand "The Scent of Mandarin"
SIFF Cinema Egyptian
SCEN0612

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33836