See how Hu Ge, who abandons the burden of idols, interprets the escape path of small people
"The Party at the South Station" is undoubted, the film's stunning debut at the Cannes Film Festival, let the audience once again see the long-lost Hu Ge as the male number one big screen work and Gui Lunmeng's wonderful acting skills...
Inspired by real news cases, the story tells a story that takes place in an urban village, where Zhou Zenong, the leader of the car theft team, embarks on the road of escape under a heavy reward and struggles to find self-redemption.
The film not only reveals the complexity of human nature, but also expresses the pressure and reflection of the general entanglement between human law and love brought about by the disintegration of director Diao Yinan at the bottom of society.
What exactly is human nature? Is it street racing? Is it a gun fight in the alley? Or a team civil war? Maybe the director told us at the South Station on a rainy night from the beginning.
1. The narrative structure of multiple perspectives brings about endless dramatic conflicts
The play uses flashbacks and interludes to unfold the story, and the multi-angle narrative structure gives the actors a huge space for performance. The swing between Zhou Zenong's reality and self, morality and emotion makes actor Hu Ge's performance creation have a profound tension.
If there is a law, it must be followed, and the lawbreakers must be punished.
But why did the protagonist get to this point? What kind of helplessness is there between justice and criminals? In fact, the film is somewhat tragic.
Each character chooses the narrative that is most beneficial to themselves out of the principle of maximizing interests, showing the selfishness, sadness and untrustworthiness of human nature, especially the joys and sorrows of the characters on the edge of the city, and the joys and sorrows are full of drama everywhere in reality.
Each character is in multiple contradictions: both external and internal.
Zhou Zenong was repeatedly betrayed until his death and forced to bear the guilt; Liu Ai'ai, who hoped to get money and wanted to help people escape, pretended to be a victim rather than a desperate retaliator; Hua Ge is both angry at the selfishness of others but unable to face up to his own hypocrisy; the captain of the criminal police brigade, serious law enforcement and has a human temperature...
This complexity is a profound manifestation of human nature. Hu Ge, the actor who plays Zhou Zenong, pushes the characters from sticking to defense to doubting and cheating to desperate and angry mood layer by layer, peeling back the cocoon and drawing silk, showing the deep psychological state of the characters.
2. The lens language is unique, paving the way for the narrative to sublimate the theme
As the only Chinese film to be shortlisted for the main competition unit of the Cannes Film Festival, it is also the sincere work of the director who has been painstakingly polished for five years.
This film sets up such a scene: when the police search zhou Zenong, in the night scene, the director used various angles and camera positions to shoot animals, showing the complexity of the environment, and on the other hand, by matching nervous and urgent music, the audience's emotions were greatly mobilized, setting off the tense atmosphere, and had to lament the director's ingenious arrangement.
Although the whole scene is not long, the effect of the editing adds a lot to the film. This is not only a careful picture processing, but also through the processing of this scene to show the director's intentions, he seems to imply that we are in such a complex environment, the human heart is also complex, which paves the way for the narrative of the following text, and at the same time, to a certain extent, calls on us to adhere to the rules of order in a materialistic society, not for our own selfish interests, in order to alleviate our own sins, cover up our own faults, to weave one lie after another.
3. The ups and downs of the storyline, seemingly driven by the plot, but in fact laid the foreshadowing early
When the police car following outside the mountain flashed with dazzling lights, the dappled light and shadow, the gloomy picture, and the vague outline showed a suppressed and suffocating emotion.
But the close-up of Zhou Zenong, with a firm look in his eyes and no fading, a person who fled after killing people, still remembers how to make his arrest more valuable.
You say he's fierce, he still has feelings.
The 300,000 bounty achieves the self-redemption that Zhou Zenong has been seeking, the last scene is in a pool of blood, making people feel compassion, and the theme is interpreted again at the end of the film, in this society, "evil is not better than righteousness" is always implemented in people's treatment and behavior, and his care for his wife and children has a perceptual power in the dark story at the bottom.
As Hu Ge said, "I see from these small people on the edge that each life entity is equal, has the instinct to survive, and has a struggle with fate, and at the same time we can also see the warmth and human brilliance in them in the process." ”
The film ends with a song called "The Beautiful River Solo". The water is endless, and it undoubtedly lights up the hopes of the people in the play and the audience off the screen, with an upward positive meaning.
Here, the director shows us people's expectations for life to continue, and conveys to us that we should not be selfish and desperate for hatred, but should always maintain a righteous heart and make the world a better place. #Hu Ge ##桂纶镁 #
Author: Eggshell