Change Your Image
liangzihan
Reviews
Yin ru chen yan (2022)
Panda and Donkey, a missing Chinese movie
In 2022, a film about rural life in China, "Return to Dust", was released. This film was nominated for Best Film at the Berlin Golden Bear Awards in the main competition. At the same time, the film sold more than 100 million tickets at the box office in the Chinese mainland market, far exceeding the previous films of the same genre, and has also caused a fierce public argument about this film. Some people think that the film is smearing rural China, which is inconsistent with the official picture of a well-off society that has been completely lifted out of poverty. Others believe that film inherits the tradition of Chinese realism in film. It is the embodiment of the conscience of Chinese filmmakers and is a kind of attention paid to the marginalized people in China.
Leaving aside these ideological debates for the present, I personally think that the most commendable thing about this film is its characterization. The director especially prefers to use delicate composition and rich visual elements to support the character portrayed in the film. This film builds a typical image of a farmer in northwest China-Lao Si. He is still living in the house of his brother and sister-in-law even though he is over fifty years old. Although he has to work non-stop for his brother every day, he is still despised by his family. To let him leave his home as soon as possible, his brother finds him a disabled woman, GuiYing, who is in a similar situation to marry. As a result, two socially marginalised people come together.
The first shot of the film is a long shot. A loess wall appears in the picture, and there is a square hole in the middle of the wall. Someone shovels soil from the hole, but the person who is shoveling cannot be seen. From off-screen, a female voice is shouting "LaoSi", and a donkey appears. The square hole is like a close-up shot in a long shot, and this close-up shot is the head of the donkey. At this time, the audience have no clue about who LaoSi is. It is possible to mistake the donkey for Lasosi. Such a misreading is intentional, because later, when the protagonist of the film walks out from behind the donkey, a metaphor is born on the screen: Laosi and the donkey have similar characters and destinies.
In the next scene, there is a medium shot with the camera at eye-level Shot. LaoSi is eating on the bed, facing a mirror, which reflects the image to the audience. Next to the mirror is the open door by which stands GuiYing, who is patting the donkey that is on the same level as LaoSi in the mirror, and the donkey is eating at the same time. It connects what happens inside and outside the house through the reflection of the mirror. GuiYing appears to be patting the donkey, which in reality means that she is patting Lao Si. This also proves the fact that the two will get married later.
After LaoSi and GuiYing got married, they went to burn joss paper for LaoSi's parents. Here is a long shot. The foreground is the burning paper money and the characters telling their dead parents about their marriage. The background is the donkey rolling happily on the ground. The camera is behind them, overlooking the whole picture. LaoSi is a poor farmer, and his emotions are implicit and restrained. When he speaks to his deceased parents, his is calm, and the film uses the donkey to express the joy of Lao Si's marriage.
At this point in the film, the story has progressed to a point where LaoSi's destiny is closely bound with the donkey's sad life. Then the following stage begins. The father of a rich man in this village is sick and needs Rh-negative blood. So the villagers are called on to find for people with this blood type. Some villagers say that LaoSi is the only one with this special 'panda' blood in the village. When they mention "panda" and LaoSi, the villagers joke that LaoSi is panda, the panda is a national treasure, and LaoSi is also a national treasure. The villagers all laugh.
The symbolized relationship between LaoSi and the donkey has been explained earlier. It is obvious that the noble panda has nothing to do with lowly donkey, and even forms a stark contrast to the poor and marginalized life of LaoSi. Here, the ridicule of the villagers shows that LaoSi is not only a marginalised person at the bottom of the economic ladder, but also a marginalised person in social interpersonal relationships.
There is a long shot of villagers squatting under a large ceremony platform, the villagers only accounting for less than a quarter of the screen. On the ceremony platform are the village cadres and the wealthy, and they are in the middle of the scene. Their position is higher than the villagers in the picture, which shows the unequal power and socioeconomic status between the two groups.
The background of this scene is the magnificent auditorium and a half-exposed Chinese national emblem. Although the direct symbol of the country is not fully visible in this shot, the large and magnificent auditorium seems to be a metaphor for the ubiquitous authority of Chinese government, even in the remote northwestern countryside.
The ceremony platform accounts for up to three-quarters of the picture, visually squeezing the poor and the wealthy people below. On the beam above the grand ceremony platform, there is a mottled word "ZhengTongRenHe", which means that the political enlightenment is smooth and the people are happy and harmonious.
There is a contrast between the life presented in the film and the harmonious society vigorously promoted by the Chinese government. Ironically, the film was abruptly pulled from theaters without an official explanation, and the real life in the remote mountains depicted in this film was buried.
Guiying died in the end of the film, and LaoSi chose to commit suicide after releasing the donkey. Possessing 'panda' blood, it seems that he can only be liberated by dying even though he possesses the precious 'panda' blood, but the donkey, which is merely livestock, is alive and free. The nobility of blood does not bring LaoSi a noble status in society, which in turn adds tragic power to the film.
In summary, this film not only uses the subtle composition to express the relationship between the donkey, Lao Si, and Gui Ying in a single shot, but also expresses an profound understanding of current state of society as well as division of social classes in China.
Yang guang can lan de ri zi (1994)
Jiangwen'heart of the sun
Before watching In the heart of the sun, I have not seen Jiang Wen's film less. Today I want to use this movie to talk about the influence that Jiang Wen has brought to me. This movie is not too late to watch, it is more like keeping a precious to watch. After all, the previous works that I seen of Director Jiang gave me too much shock, so his " Virgin works" must be kept for the final to watch. I have tried to write some film reviews of his works before, but most of them have been holding back for a long time. I don't know how write these film reviews. I only have those key words, exaggerated performances, rich rhythmic images, and black humor? For future works, these are indeed all. But Virgo is different. This is the first work of fresh blood entering the film industry. Talent and spirit are the most abundant time, and ignorant works must be very interesting.
The film is called In heart of the sun, but I think it should be called Jiang Wen's heart of the sun. The background of the story is Beijing during the Cultural Revolution. It is the time when Jiang Wen lived where he grew. The story takes place in the place where he grew up, and the actors are more like his childhood. People in memory. There are a few buddies who are crazy every day, the girls who like, and the "fools" who are lingering in my memory. In the context of the times, the Cultural Revolution was not an era that was shining in the sun, but aside from the background, we returned to the little people. In that era when there were no mobile phones and naive ideas, these children who grew up in the compound brought the audience to a perfect experience from the films. A different experience. In this group of small groups, they all live happily and freely, as if they are isolated from the outside world. They do what they like, have their own dreams, have girls they like, and have countless troubles. At first glance, it seems to be no different from the children nowadays, isn't it just a bunch of kids running wild. Yes, this group of children presents the last sunshine under the political wall for a generation. Sometimes I am quite envious of children of this age, carefree, without mobile phones or computers, without any external fragmented information interference, and it can be regarded as a pure world. Jiang Wen photographed a era when he was a child, and photographed the best aspect that audiovisual language can present to the audience. His audiovisual creative talents made me fascinated by the rhythmic sense of his movies, not only the shock brought by the rhythm of the music, but also the feeling of matching the music and the picture.
In any case, from the memory in the bones of a generation of people in the siege to the memory being processed into art products, his films always bring surprises and inspiration to me.
Wo de jie jie (2021)
I am her sister
As a younger sister, of course I cannot empathize with other audiences as younger brothers, or empathize the story as an older sister. But even so, I still want to write this film review as a "person with a sister".
Today we don't talk about styles, skills, just stories. In many parts in this movie, it also made me feel that some things might have happened in my family.
It's sad to see An Ran being forced by her parents to pretend to be disabled, and it also reminds me of my sister. I know very well that in the era when I was born, second children were not allowed. Each family was an only one child. My parents were working in the bank. If they violated the rule and gave birth to the second child, it would mean losing their job and paying fine. Even so, my parents took a risk and gave birth to me. They lost their job, paid a fine, and even almost issued a disability certificate to my sister. I don't know how my sister would be in the mood to accept me at that time, and whether I would take away her love and care. I have thought about this mentality from the perspective of my sister many times, but after all, whenever I wasn't a sister, I still don't know the situation at that time. The environment in which I was born does not exist in the movie what the elder sister "hates" the younger siblings. Later, my parents also told me that my sister welcomed me very much, and it seemed that there was not so much hatred in the movie. Since I was little, I have never quarreled with my sister. This is not just my sister letting me or I letting her. There is really no contradiction. What my sister said ,I will do what she said, never revolt . Looking back at the situation of An Ran and her brother in the movie, I think the root problem is the influence of family education. As mentioned in the previous article, I never quarreled with my sister, because my parents taught me to listen to my sister in everything. So I have also known since I was a child that my existence cannot make my sister feel that she has lost something or something has been taken away by me. As for An Ran, her parents, parents are family judges, they gave her an unfair trial when she was a child. The traditional idea that girls can't do big thing in their life. The education for the younger brother is "You are born, our whole family is yours." The older sister seems to have disappeared here. So don't expect any siblings to have a deep affection, it is not her fault that An Ran abandons her younger brother. If I lived in such a family, I would not think that there was anything wrong with An Ran's idea of giving him away. A blood relationship without emotional accumulation is not much different from a stranger.
In the story, her aunt was using the phrase "elder sister is like mother" to discourage An Ran and let her raise her younger brother. As a child who has been labelled as a small matter by his parents since he was a child, he will naturally not agree. What is the relationship between "he" and her? An Ran will only feel that his brother has taken away more things that belong to her, leaving only the parents' prejudice against her. . But the end result is that An Ran has assumed the responsibility of "the eldest sister is like a mother", which is somewhat far-fetched in my opinion. Was it because of the feelings of childhood that had been battered by the wind and frost from the little brother's sweet words and cute eyes that were moved? Could it be that "the eldest sister is like a mother" to take responsibility? This is more like moral kidnapping. If it's just this touching An Ran, to raise his younger brother, should the screenwriter use his brains anymore. Although film is the art of time, what our want to express can only be short and short, but the turning point for An Ran's change may be clearer.
I think that "the eldest sister is like a mother" is not a sister's obligation, let alone a fixed formula, but a natural family situation. There is no such thing as being responsible for anything. It is because of family affection that naturally I want to be nice to my younger siblings. For example, for my sister and I, my parents didn't order her to take any responsibility, or what benefits she would bring to me if she was kind to me, it was just that she wanted to be nice to me and she loved me very much. I went to school in Beijing since the second grade. My sister lived in Beijing after graduating. After I passed, she didn't need my mother to tell her to take care of me. Every time I go back to my sister's home. Just like going back to my own home, at this time "the eldest sister is like a mother" naturally manifests. My sister treats me like a mother and she loves me.
Therefore, there is no criticism of An Ran in my view of this story, and I sympathize with her very much. Nor does it criticize her family education. The story reflects the concept of family in an era. When the era changes, the views will also change. Every family is different. Maybe some girls are still in the quagmire of moral kidnapping. We can't do anything for them. We can only pray that the new generation of parents will be less prejudiced, just like my parents taught us two sisters, educate the new life now.
Phantom Thread (2017)
Personal decode
This is an love story with two very different living habits for two old people. Let two people who have lived most of their lives in their own way adapt to the environment, life and habits of their lovers. And as impulsively as a young man, it is possible to talk about the outcome of an ignorant and irresponsible relationship.
Seriously, Reynolds, who has the ultimate pursuit of life style, falls in love with Alma, a restaurant waiter who knows nothing about the upper class. Unnecessarily attentive audiences discover that those who have seen it know how disdainful Reynolds is to Alma's feelings on the surface, and he is extremely cold in life. Looking at us as bystanders, Reynolds doesn't care about Alma's feelings at all. Even in Reynolds's mind, his female partner Cyril is more important than Alma. Alma is just a "lover" with her? "Model"? This is what Reynolds presented to the audience. However, in contrast, we can see that Alma's understanding of love is manifested. If you love someone, you must take good care of him. Accompanying is her original intention. The film shows that Alma wants to serve Reynolds with tea, take care of him, or create time for the two, but Reynolds stops her actions again and again, and even expresses her incomprehension of her behavior and does not understand why she wants to say it. With so much, readers can already conclude that Reynolds is a scumbag, who has failed Alma's intentions for him. Is this really true? Did Alma do nothing wrong?
There must be a reason for the incident, let us return to the two suffocating poisonous scenes. Maybe the reason she was poisoned was that she thought Renoir didn't love her anymore. She wanted to let Reynolds know that she was the only one who could accompany him when he was weak. She believed that this would make Reynolds love again. Get on her. So is it her fault for poisoning? Was it caused by her ignorance? A momentary impulse made an uneducated restaurant waiter poison her lover. There is no shortage of things that can grind the film to portray Alma as an ignorant and rude middle-aged village woman. If she is a person who has gone to college or graduated from postgraduate, and she does this, I will definitely say that it is her fault, but she does not possess these. Reynolds did show that he needed Alma's company when he was ill, and this did achieve Alma's goal. At this moment, Reynolds only belonged to her. The sick and the innocent, give her an explanation. The meticulous care of the illness also dazzled Reynolds's mind. Those things that were out of place in life, those things he didn't adapt to Alma, seemed to disappear overnight. So much so that they got married "recklessly".
However, we can imagine the life after marriage. When we were so unbearable in the past, we couldn't merge with each other anywhere, and history would reappear after marriage. The final result must be a second "impulse." Reynolds's indifference and contempt for her, in her heart "she" is just Reynolds' everything, a selfless companion, and this companion does not ask for anything in return, but only wants Ray to fall in love with her again, nothing else, Reynolds Perhaps what I did was the "ignorance" mentioned above. The poisoning this time is not like ignorance, it is more like a perverted revenge, so "myself" can't fit in in life, and can't integrate into it anywhere, so don't make promises to each other as soon as possible.
If you really want to analyze who is right and who is wrong in their love, I believe that they don't understand it. As a bystander, I don't make much evaluation. When conflicts arise, people always think that they have paid the most in love. It's always right, I just objectively analyzed the cause of the rift between the two of them, nothing more.
Sui yuet san tau (2010)
Time is hard to steal
In Chinese word "Shoes are half hard, and half are good. You have to believe in it." Life is better when there are difficulties, and believe it or not, what you believe in is an intriguing topic through the ages.
The film "Echoes of the Rainbow" is already a very old Hong Kong film in my impression, and the scattered ones can always leave memories of this film on the movie channel. This is already a childhood memory. When I grew up, I watched movies in china and abroad, including Hong Kong and Taiwan, but I forgot this masterpiece. Today I regain my childhood memories and read it all over again. There are many things that are worth learning and contemplating.
Mrs. Luo said that "people must believe". After watching the movie, I have been thinking about what people want to believe, whether to believe in God or believe in fate. If you believe in God, will you really have no worries about food and clothing, and will not disturb you? If you believe in fate, will life really go on in the footsteps arranged by fate? What do people believe all their lives?
The Mr. Luo's family is a positive image that cannot be beaten. Even after experiencing all kinds of hardships in life, they still don't give up doing their best to support this family. When the typhoon came, Lao Luo tried his best to protect the house. He kept chanting "keep the roof, keep the roof", and Brother took care of his little brother everywhere, and Mrs. Tai was also thinking about his two sons everywhere. Although a serious illness took Jin yi young life, Mr. Luo also gone a few years later. Originally a happy and happy home for four people, in the end only two people were left to stick to the roof. Perhaps Mrs. Tai believes in the arrangement of fate, and this "arrangement of fate" in her heart is that the elder son's illness will finally get better, and the family life will get better and better... The truth is cruel, and the elder's illness has not been cured. And she did not grow old with my husband. The result seemed very unsatisfactory, as if to say "this is a tragic story." But interested audiences will understand the role of "little brother" here. At the end of the story, Mrs. Luo and the younger brother saw the two rainbows what Jinyi said, and the mother took her son's hand towards the end of the story. In my opinion, this is not a tragedy. Mrs. Luo always believed that she did not believe it wrong, but the ending used another way to prove that she was right. Although she has lost her eldest son and husband, she still has a little son to accompany her. Both the little son and the eldest are played by Li Zhiyan, which also represents some spiritual sustenance. In fact, the family is still together, and it seems that they have never been separated.
This is not just a family story, the family relationship is also mixed with the beauty of love. From the love between Jin Yi and Fang Fei in a young age, and the love between Lao Luo and his wife to the middle-aged, the beauty of the world is everywhere. In fact, life is not that difficult, "one step is difficult, one step is good, one step is good, one step is difficult." In times of difficulty, there will always be family members and lovers to bear with you, and in times of good, there will always be people who share the joy of happiness with you. This is life. No one can really distinguish whether life is difficult or good. The life both on it. When suffering is exhausted, it will come willingly, and when willingly comes, you must be prepared for suffering.
People must believe and have faith in their hearts, and life will treat themselves kindly.
Ni hao, Li Huanying (2021)
So she was young too
"Hi mom" has reached the height of double-bumping reputation at the box office since the launch of the Spring Festival file. I remember seeing a movie blogger who predicted that "Hi mum" would be the dark horse of this year's Spring Festival this year. In fact, she is worth it.
I have seen a lot of moving movies, but few make me cry. It can be said that I don't feel that empathy. I rarely watch movies and cry because most of the movies did not happen to me. The method moved me.
The deepest feeling is that Li Huanying is so much like my mother. The reason why this movie touched me so much is not how sensational the plot is. It just portrays a complete look of my mother. My mother is like this, with sparse hair all over the roots of white hair, saving money to make my life better, she is willing to treat me unconditionally All kinds of good, after I played my temper, I still treated me well. I watched the movie with my mother. After watching the movie, when I watched my mother again, my nose suddenly became sore. I don't know how to face her now with white hair. Day after day, I am slowly growing. She is getting older and getting older. I start to be afraid of losing her. If it's really like in the movie, I will repay her when I have the ability to make money one day, and treat my mother as good as she is to me. Opportunity. I began to realize that I cannot live without her. My mother has been a part of my life since I was born. I have always thought that I am an independent child who can do everything in my life. I go to Beijing to go to school by myself. I don't need her to wash my clothes or take care of me. In my subconscious, I think I can do everything well. Outside, I did everything and took good care of myself. But when I got home, my mother would rush to help me with all kinds of things, wash my clothes, take me to class, and try my best to do it for me. For food, I don't know if she is gone one day, this will no longer be the real home when I go home, and a home without a mother will be worthless.
What really resonates with is this sentence, "As far as I can remember, my mother is like a middle-aged woman." In fact, as far as I can remember, my mother looked like a middle-aged woman. I have never seen my mother look like when she was young, and I don't know that she also looks young and beautiful like mine. In my eyes, my mother will always be the mother with simple dress, short hair and square glasses. I have never seen her braided when she was young, and her fashionable appearance does not mean that she has never been young. I don't know what she was like when she gave birth to her sister, but I believe she is much older after giving birth to me, and the vicissitudes of having one more child are vividly reflected in my mother. Before I went to dance classes outside, the kids asked me if it was your grandma, and I said it was my mother. Afterwards, I began to complain about why my mother looked older than others, why she couldn't dress up better. When I grew up, I realized that she spent all the money for dressing up on me. She never forced me to go. Go to various cram schools, but as long as I want to learn, she will definitely agree to me. For more than ten years, after her cultivation, I have a talent and knowledge that makes others envy. I can't deny that my arrival has added more pressure and wrinkles to her. In fact, I also want to make my mother younger and more beautiful. Like her twenties, I want to see if she looks like me when she was young. Like.
She was also mother's baby daughter. Although I haven't met my grandma, all I heard from her were the happy memories that grandma brought to her mother's growth. I never realized that she used to be cared for and grew up like she cared for me. Now the happiness my mother treats me is the happiness she has experienced. I want her own daughter to experience the same way her mother treated her. Love. I have always wondered why I am such a hater who quarrels with her for a lifetime. When I quarrel, I don't want to talk to her. But less than 10 minutes after I finished copying, I started taking a bite again, not wanting her to cook for me. I didn't want to beg her to buy me something, or I didn't get angry anymore, and I forgot what I was making. The family relationship between our mother and daughter is very wonderful. In life, big and small always like to be noisy, but in the end it is still good. She is the sharing diary of my childhood, and I want to tell her that she is a little bit big and I want to tell her that today who did not hand in homework and drank a few glasses of water... When I grew up, many things began to be separated from each other, and I began to reluctant to do it with her Daily sharing, but I every boyfriends, she actually knows who , but in order not to embarrass me, she never tells me. This is who I am now.This is us now. If I were a little older, I might return to the days of sharing accounts in my childhood.
She will always be grandma's baby, and I will always be her baby. We all have our own mother's love. I don't want to do too much to contradict her or say to hurt her feelings. After all, grandma saw it in the heaven. she will hurt.
Yi bu zhi yao (2014)
Absurdly romantic
Audiences often say that they can't understand Jiang Wen's movies, so they should be watching comedies. However, the people who really understand Jiang Wen are those who read a lot, know history, love movies and really understand art, not those pseudo-artists who like to comment on excellent works. I like Jiang Wen's absurd romance very much. Under the absurd comedy effect, he presents the romantic language of film art. Under the romance, there are layers of historical truth, which clearly satirizes the old society and human nature. Such is the charm of Jiang Wen's absurdity and romance. If you say it's a bad movie, read more.