Some directors surnamed Feng, whose films are not working, scold the audience as garbage.
Some directors surnamed Chen, whose films were almost interesting, said that the audience's taste was too poor, and no one understood them for ten years.
However, they never thought that the audience was not obliged to spend a lot of time on a certain movie.
This can not be blamed on the general audience's aesthetics, but the current audience has entered a big misunderstanding, thinking that literary and artistic films are high-level, and commercial films are low-level.
So why do you think that literary and artistic films are advanced?
Removing light and shadow, composition, technique and other reasons, there is an important factor is that many people can't understand literary and art films, and they don't want to become the emperor's new clothes type of people, so they praise the high level of literary and art films with the current.
Or look at the literary and art films in the clouds, nothingness, the lines of yangchun white snow, you feel that the technique is clever, very advanced.
In fact, it is not shameful to not understand literary and art films.
Because literary and art films are not like drama films, there are ups and downs, reasonable logic, contradictions and conflicts, often the plot is fragmented, the editing is sparse, and the core idea is more important.
If you want to sort out these fragmentary contents into a complete main line, it takes a lot of time and a lot of background knowledge, which is too troublesome for ordinary people.
After all, movies are pastime, and there is no need to spend so much time and energy competing on a film that looks unpleasant, uncomfortable, and unpleasant.
So is there a simple and easy-to-understand way to understand literary and art films effortlessly? Of course.
As far as Chinese-language films are concerned, most literary and art films are telling two stories, one is "can't go back", most of the literary and art films in Hong Kong and Taiwan are like this, and the other is "where should I go".
Why? It can be argued by Wong Kar-wai in Hong Kong and Jia Zhangke in the mainland.
Wong Kar-wai's "Spring Breaks" in Lai Yiu-fai and Ho Po Wing, their feelings can be summed up in a single line, "It is better that we start over".
In "The Legend of Ah Fei", Zhang Guorong said to Andy Lau on the train: "There is a kind of bird in this world that has no feet.
It can only fly continuously, and when it is tired of flying, it sleeps in the wind, and this bird can only go down to the ground once in a lifetime, and that time is the time of death. ”
"Spring Break" is the loss of feelings, "Ah Fei Zheng Biography" is the root and love is gone.
The two seem to be different, in fact, they are expressing the regret of "not going back", regretting the pride and indulgence of the past, regretting the self-righteousness of the past.
It is not until they understand that they find out how beautiful the past is, but unfortunately we have no chance to go back to the past, just like you in this minute and you in the next second, it is not the same.
Let's look at Wong Kar-wai's other works.
Ah Hua and Black Fly in "Carmen in Mong Kok" can't be the prodigal son like before, and Ah E has had Ah Hua for a while but can't wait for him to come back.
Zhou Muyun and Su Lizhen in "Fancy Years", two abandoned people warm up to each other, but even if they have one more ticket, they can't get to each other's docks.
This is Wong Kar-wai's film, which penetrates the tentacles into all parts of society, outlines the thousands of ravines in the emotional world in a few strokes, and pieces together "can't go back" through scars.
Not only Wong Kar-wai, but also the literary and artistic films made by other Hong Kong directors are basically about this concept.
For example, Zhang Wanting's "Fairy Tale of Autumn", the tea pot and the bow ruler use watches and straps to reproduce the most touching scene in "Maggie's Gift".
But "Maggie's Gift" is a combination, the bow ruler and the tea pot are points, although they are all gifts, but the former's good scene and a thousand kinds of scenery, some people can speak, and the bow ruler no one talks.
They used to be in a foreign country, they could paint Brooklyn Bridge together, set up stalls together to fill the family, but those happiness is only the past, not the future.
There is also about Jin Peng's "Ruan Lingyu" and "Rouge Buckle".
In "Ruan Lingyu", Ruan Lingyu's sentence "But I am still afraid of people's words is fearful", and I don't want to see the future.
In "Rouge Buckle", Chen Zhenbang, who can't wait for a martyrdom on the Huangquan Road, can only sadly return the rouge box and return to the underworld for reincarnation, leaving behind all kinds of reluctance about the past.
The same is true of Taiwan's Yang Dechang and Hou Xiaoxian, whose "Yiyi" and "City of Sorrows" are the same as the themes of Hong Kong literary and art films, and they are all discussing "can't go back".
And the mainland's literary and artistic films are just the opposite of them.
Xiao Wu in Jia Zhangke's "Xiao Wu", under the torrent of the times, he did not change in time with the general trend, so he was slowly thrown away.
His thinking clashed with the mainstream thinking of the times, and he could not walk out of his comfort zone, and could not accept that what had become a habit was constantly being changed.
He didn't worry that he would struggle to adapt to the ever-changing society, but he was desperate to keep up with the times, and this contradiction kept him stagnant and made him not know where he should go.
In "Three Gorges Good Man", Han Sanming has seen all the changes in the world, tasted the bitterness of life, and intended to linger on the past, helplessly running to things.
Han Sanming, a coal miner, came to Fengjie County, Chongqing, to look for his former wife and daughter who had not been seen for sixteen years, but he saw that his family could not be taken away immediately.
He is a tightrope walker, life and death have long been hanging on the line, life has given him happiness, but also brought him a lot of suffering, but he has also become confused in the change of times, do not know where the future is.
Bi Gan's "Roadside Picnic" is also about "where should I go".
The male protagonist in the film, Chen Sheng, his home is missing a big horn, so he went to Zhenyuan County to find a home, but stayed in Dangmai.
This place made him unable to distinguish between reality and illusion, unable to see through memory and imagination, and finally he chose to step on the train alone and find the direction of the future.
The same is true of Diao Yinan's "Daytime Fireworks" and "The Party at South Station".
Zhang Zili in "Daytime Fireworks" discovers Wu Zhizhen's secret, but he is also lost in the entanglement and confused about the future.
Zhou Zenong in "The Party at South Station" wants to use the bounty he caught to leave a sum of money for his wife.
But the proceeds of breaking the law are not a long-term solution after all, the confusion of the family's future life still exists, and their path still does not know how to go.
This is the mainland literary and art film, which may seem mournful, but their core is all in pursuit of a way out, a way out of "where should I go".
So why is Hong Kong and Taiwan focused on the past, while the mainland focused on the future? This is related to the economy and culture of the two sides of the strait and the three places.
In the past, Hong Kong and Taiwan were very brilliant, but now they are relatively depressed, growing up from prosperity and seeing decline, so they will always remember the beauty of the past.
The past continent is in ruins, the current continent is thriving, and they who have grown up from suffering are eager to have a better future, and they will project this sustenance into the movie.
It can be seen from this that the cultures of the two sides of the strait and the three places are interconnected, whether it is the white snow in yangchun or the people in xialiba, they are all using movies to interpret "beautiful".