{"id":454,"date":"2015-06-03T09:21:35","date_gmt":"2015-06-03T00:21:35","guid":{"rendered":"http:\/\/www.the-concrete.org\/?p=454"},"modified":"2018-02-08T01:33:37","modified_gmt":"2018-02-07T16:33:37","slug":"five-to-nine","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/work\/cinema\/five-to-nine\/","title":{"rendered":"Five to Nine"},"content":{"rendered":"<p> 5 to 9 comprises four short films that transpire across 5pm to 9am on the evening of the historic Brazil-Germany match at World Cup 2014, spanning intimate vignettes of unrequited love and final meetings.<\/p>\n<p>In China, a young migrant worker has saved 3,000 RMB to finally spend a night with a middle-aged prostitute, but she plans to leave the city the same night instead. In Singapore, a local teacher and his paramour from China are out for a rendezvous, submitting the fate of their future to the result of the football match. The Japanese counterpart centres on a porno-projectionist collecting debts from the punks for the poor. The film concludes in Thailand with the filming of the last scene of a sci-fi movie. Behind the camera, the director is suspicious of his leading actor and the actress who is also his wife.<\/p>","protected":false},"excerpt":{"rendered":"<p>5 to 9 comprises four short films that transpire across 5pm to 9am on the evening of the historic Brazil-Germany match at World Cup 2014, spanning intimate vignettes of unrequited love and final meetings. In China, a young migrant worker has saved 3,000 RMB to finally spend a night with a middle-aged prostitute, but she plans to leave the city the same night instead. In Singapore, a local teacher and his paramour from China are out for a rendezvous, submitting the fate of their future to the result of the football match. The Japanese counterpart centres on a porno-projectionist collecting debts from the punks for the poor. The film concludes [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/454"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=454"}],"version-history":[{"count":13,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/454\/revisions"}],"predecessor-version":[{"id":2108,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/454\/revisions\/2108"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}