Northeast China refers to the three provinces of Heijiliao and part of Inner Mongolia, because it has a relatively close natural environment and social and cultural foundation, and also projects a distinct northeast imprint on film and television works: humor, roughness, and a strong atmosphere of civilian life. There is the glory left by the old industrial boom, but this light is often incompatible with the current popular culture, so when there are always some insoluble problems in society, black and absurdity have become the way some new century films construct the reality of Tohoku.
【Glory and Anger】
The glory is gone, and the lost dignity must be regained
Scenes from old-style unit buildings in Auntie's Postmodern Life.
In January 2006, the crew of the film "Auntie's Postmodern Life" came to Anshan City, Liaoning Province, to shoot scenes from the northeast part of the film. The house where Szchenkova's aunt lived, located in an old-style unit building, outside the building, the sky and the streets were all undersaturated gray, like mottled and faded canvas, people and cars passing by, the canvas seemed to be torn from the bottom, and quickly sewn back to the original; the indoor lighting was always very light, the color of the walls was darker, and the imitation of the Soviet aesthetic still stubbornly appeared in daily life. But the camera captures these dilapidated realities, the cramped lives, in that city, no one cares. The film's shooting cycle in Anshan was only ten days, and director Xu Anhua spent more time trying to find a house that shared a kitchen. This is a comedy with a bitter background, when shooting, Xu Anhua is similar to the age of the aunt in the film, and the aunt who ran away finally chose to return to the northeast, which is both a plot need and a chance for the director to find a look back. Anshan is the birthplace of director Xu Anhua, and the saddle in her name is taken from her hometown, and she frankly said in an interview with local media during filming that her impression of her hometown has been very vague. But even so, the arrival of Xu Anhua and the crew was still a big event at the time, this was the first time that the city had a Hong Kong director filming, in a contemporary theme of the drama, recorded by a completely different foreign perspective, the film, which was already marginalized entertainment in the northeast at that time, suddenly aroused the expectations of a city.
The aunt took the initiative to return to Anshan, where she had fled, from bustling Shanghai, and faced with paleness and coldness, "in a flash, the previous love was exhausted."
In 2007, the movie "Auntie's Postmodern Life" was released, people's expectations quickly fell short, on the Internet and media, the evaluation of the audience in the northeast is mostly negative, the reasons are similar, the audience feels that the northeast is ugly in this movie. Vulgar snobbish human feelings, dirty and dilapidated buildings, not only are not northeast style, but also a deliberate dwarfing. Some viewers have accused the director on the Internet, for example, the film chose the most dilapidated look of Anshan, why didn't so many bustling areas go to film? In fact, Xu Anhua's perspective on his hometown is very accurate, there is the background of the city in the movie, the aunt once fled, and the initiative to return is the same place, where it is unchanged, but from the prime of the year to the aging, the glory of the past is long gone. In 2015, the Golden Rooster and Hundred Flowers Film Festival held a retrospective exhibition of Xu Anhua's works in Changchun, selecting important films from Xu Anhua's career, but the only film related to northeast China, "Auntie's Postmodern Life", was not listed. Among the many films related to the theme of Northeast China, "Auntie's Postmodern Life" is one of the few films that neither caters to external collective emotions nor deliberately flatters the experience of life in Northeast China, and the space for thinking left by it is wide enough, but unfortunately it is still blank today.
In the same year that "Auntie's Postmodern Life" was released, the Shanghai International Film Festival opened the first venture capital unit, and a young northeastern director took the stage to tell the story of a laid-off worker in a steel mill casting a piano. Fan Xin, a producer who had just returned to China, noticed the young director on the stage, because the story took place in Anshan, only a 40-minute drive from his hometown of Liaoyang, in his opinion, it was the first time that someone had told the most common life in the northeast in a black humor and full of fatalism. Later, he participated in the production of many northeastern directors' works, which were all opened from this.
Four years after the venture capital speech, director Zhang Meng came to Anshan with the "Piano of Steel" crew to shoot, and encountered financial problems in the middle, and the heroine Qin Hailu helped the crew out of her own pocket. The old chimneys, water towers, foundry workshops, and retired Soviet experts in the film are all remnants of the planned economy era, so the film has a strong realistic style. The funds for the whole film are not enough to set the scene repeatedly, and can only be completed in a smooth way, and the scenes in some steel mills cannot be reproduced, so they are interspersed with stream-of-consciousness songs and dances as a substitute, and this part is considered to have brightened the tone of the whole movie after the release.
This steel piano represents both the absurdity of realism and the romance of surrealism.
The story of "The Piano of Steel" is very much in line with the temperament of the city. In order to compete with his ex-wife for the custody of his children, Chen Guilin, a laid-off worker, found many frustrated people to cast pianos together, at first everyone had selfish desires, and in the end, casting pianos became the salvation of everyone's obscure life. In the film, the piano is the key to the fight for custody of children, but also a symbol that the working class wants to regain their lost dignity through a farce. The dismantling of the piano into a steel piano shatters and reconstructs the inherent romantic imagery of the piano, and this seemingly absurd dismantling stems from real reality. Zhang Meng once saw such a steel piano in the Northeast Theater Troupe, and his father Zhang Huizhong told him that in difficult times, the troupe did not have an accompanying instrument, and everyone built this piano.
"The Piano of Steel" is Zhang Meng's second film, and his debut film "Blessed with Ears" also tells the story of a frustrated person in northeast China. Wang Kangmei, a railway worker who retired early, still can't escape the pressure of life, lives hard and cautiously, halves his retirement salary from illness, his wife is hospitalized, his daughter's family life is not harmonious, his son is idle, the old father's life is not guaranteed, the reality is painful everywhere, and there is nowhere to solve it. In order to fill the family, Wang Kangmei mistakenly entered the pyramid scheme gang and was arrested; he wanted to set up a stall to polish his shoes, and he planned to pedal three wheels. This is an old man who has no ability to fight back from life, and to some extent, Wang Kangmei is the epitome of many people in the northeast.
Wang Kangmei in "Blessed Ears" is a character with tears in laughter, and no one wants to be an outcast of the times.
In the northeast small city in the film, people's expressions are the same as the street landscape, it is difficult to hide loneliness, and wang Kangmei's same working class, most of them rely on small business to earn a living, some people are polished by life to be sophisticated, in the torrent of layoffs, they are rolled up by the huge waves, abandoned, each struggling, and symbiotic in the same sad city. When Wang Kangmei finally confronted the street thugs, he shouted that sentence, just because I didn't want to live, welcome to die. All the despair was cathartic, and then the camera turned, and Wang Kangmei dialed a string of numbers, and he shouted proudly on the phone and came out to dance.
In the dance hall, Wang Kangmei twisted his body to the music and tried his best. Although "The Piano of Steel" far surpasses "Blessed with Ears" in terms of word-of-mouth and influence, the latter's ability to translate the spicy humor on the stage of the sketch into the language of the film is still difficult to surpass in a film, and "The Piano of Steel" is more like a genre film that balances literature and commerce. After "The Piano of Steel", Zhang Meng filmed the last "Victory" of his personal northeast trilogy was not released, after the trilogy, Zhang Meng's film, the northeast is no longer the main narrative subject, the Beijing News reporter asked Zhang Meng how to look at his early works, Zhang Meng said that he has no views, those films are the products of the times, and today's northeast has no traces of that year.
【Relaxed + Enjoyable】
Using Hegang to interpret the northeast is both poetic and frustrated
In 2008, the film "Youth" premiered at the Rome Film Festival and was shortlisted for the main competition. The film tells the story of three young people in Hegang. Abandoned by love, betrayed by jianghu morality, and tricked by fate, the story is based on the friend of director Geng Jun, which is the second feature film directed by Geng Jun, and those who are frustrated in Hegang in the film have since become the absolute protagonists in Geng Jun's later works.
Being shortlisted for the Rome Film Festival is an affirmation of ability for Geng Jun, and an industry recognition for producer Fan Xin. To this end, near the end of the film festival, two northeasterners broke out into a fierce quarrel. Fan Xin suggested that Geng Jun should take the road of industrial production and can no longer indulge in low cost; Geng Jun believes that the film should be made when it has the opportunity, and cannot wait or wait. After that argument, the two broke away from the partnership, and Geng Jun also called off two previous plans to be made - the movie "Siberian Tigers" and the movie about the second-hand Rose Band.
"Youth" is a watershed in Geng Jun's personal film sequence, and the style is full of anger under the same expression logic as his previous works "Hawthorn", "Bulk Diary" and "Barbecue", based on reality and realistic techniques. Later, although his films were still realistic themes, they replaced realism with absurdity in technique, and the consistent humor and satire became precise and freehand. At the production level, "Youth" is the first time that a professional team intervened in Geng Jun's film, leaving the workshop-style production model. "The early Geng Jun was a fighter, and his films, like his people, were temperamental, full of rebellion, and couldn't watch anything." After many years, Fan Xin still believes that if Geng Jun accepts the industry earlier, the expressions in his works will be seen by more people, "Geng Jun's films are literary, just like the works that could have been published on "Harvest", but chose to print underground." People's way of expression is really determined by life, I have been to the basement where Geng Jun lives, he has lived a very hard life for many years, he has tens of thousands of yuan in his hand and he starts thinking about making movies, when the money is spent, he goes to pick up work and take advertisements, I don't live that kind of life, I like his story, but I don't like the story to be roughly presented, and you are not making a documentary."
The two have little contact after separation, but the film directed by Geng Jun after "Youth" is indeed much stronger in quality than previous works, and no longer has a strong sense of DV. The nomination for the Rome Film Festival did not change the situation of Geng Jun, who is still an independent director, and his name and works are only circulated in a small area of fans and academia. For most people, as well as mainstream movies, Geng Jun has always been an unfamiliar name.
Geng Jun did not have any difference between being in the mainstream or underground. His first work of using absurdity instead of realism, "Hammer and Sickle All Rest", won the 2014 Golden Horse Award for Best Creative Short Film, after returning to Beijing, there was capital to find cooperation, Geng Jun wanted to make "Siberian Tiger", at that time talked to him a lot of market analysis, but the film did not talk about any progress. Geng Jun did not struggle, put down "Northeast Tiger", returned to Hegang and continued to shoot "Easy + Happy" in the way of independent films. In 2017, "Easy + Pleasant" was nominated for the Golden Horse Awards and was nominated for Best Picture, Best Director and so on. Capital once again found Geng Jun, more sincere than before, the two companies are very interested in "Northeast Tiger", Geng Jun did not resist, rewrote the script, one of them has talked about the degree of actors, but finally quit because of differences. Geng Jun thought, if not, he should shoot it himself.
In the years of preparing "Northeast Tiger" again and again, Geng Jun's creation has never stopped, as long as he has the opportunity, he wants to shoot something, long and short stories, drama films and documentaries. In Geng Jun's view, if you start from the end of the script of "Northeast Tiger" and wait for investment, your mentality will definitely collapse early, and today will be a patient. But he has been shooting and writing, and now he is very peaceful, "I can't shoot this, I can shoot anything else." I haven't had any plans since I started making films, I just want to keep shooting, and as for when things come, it's not up to me, I can't control things, I don't worry."
When not filming, Geng Jun loves to ponder the script, his film rhythm is very slow, the lines are also very slow, every sentence of the actor has been polished, he evaluates his lines are very porcelain, so in his movies, the actors change words on the spot is particularly rare. A lot of seemingly simple dialogue, before giving it to the actor, he will turn it over and write many times, on top of accuracy, looking for flavor. In the northeast, people who do this usually use one word to describe it - exquisite.
Several characters in "Siberian Tiger" still continue the setting of the frustrated people in Geng Jun's work "Hegang Universe".
For his hometown Hegang and his partners for many years, Geng Jun is also exquisite. Although in his films, Hegang is an elevated place, sometimes more like an atmosphere than a concrete existence, Geng Jun and this atmosphere are homogeneous, and their hometown partners are also. Every time I return to Hegang, everyone will drink a lot of wine when they meet, and the movie is like a bond, gluing these people's lives together. They call Geng Jun Dafa or Dafa Brother, every time Geng Jun comes back to shoot a film, everyone does not hesitate to support, Geng Jun also unconditionally trusts these partners, they have played different roles in Geng Jun's movies, and now they are called "Hegang Universe" by fans. In the movie "Siberian Tiger", the "Hegang Universe" was all online, just like the changes in Hegang over the years completed a gathering in the movie.
Geng Jun always creates a new identity for Hegang's partners in the film, but never uses "marginal" life experience to please the audience. He did not shy away from the boredom and ruin of Hegang, nor did he glorify the evil at the bottom. As he asked in "The Siberian Tigers", which energy is greater, revenge or forgiveness? Whatever the answer, sin and affection coexist. Once a social big brother with a very background in Hegang asked him to meet, the eldest brother wore a pair of sneakers that day, his hands were very soft, and asked Geng Jun very politely if he could let him also play a small role in the future. Before the meeting, Geng Jun had heard a lot of rumors about his fierce heart, but the person in front of him did not match those rumors at all, "which is him?" In his opinion, the northeast is never special, and the people and cities are complex enough.
His feelings for Hegang have never been grand, "as soon as I came out of the train station, I smelled the smell of the city, and the smell of the small restaurant, it was strong." Over the years, due to the collapse area and flood diversion, many places in Hegang that appear in the movie have been demolished, and Geng Jun is glad to have preserved these old times with movies. Geng Jun suggested that the reporter go to Hegang in late autumn, which is the most beautiful time in Hegang, and many of his films are also filmed in autumn and winter, and the world is vast. "After drinking wine in winter, you will feel that the road is soft, and then look up at the night sky and look at the stars, and your heart will become particularly soft."
Actor Xue Baohe once recalled a moment in the feature film "The Self-Help of Hegang Youth", Geng Jun wanted to shoot a wide-format scene to catch up with the cloudy day, he and Geng Jun, as well as several other actors stood in a row ready to grab the camera, several people just stood up, the clouds above their heads suddenly cracked a gap, the sun sprinkled down from above, "feeling old."
During the filming of "Easy + Pleasant", a ray of light suddenly poured down from the gap in the clouds, which was very poetic.
In Geng Jun's films, Hegang is both frustrated and poetic.
Before "Siberian Tiger", all of Geng Jun's works have not been officially released, but among fans, Geng Jun's films are used as an index to interpret the reality of Northeast China, Geng Jun feels that it is the pleasure of film fans, many interpretations are not his original intention, "I am only very interested in people, any person's youth and life are golden and worthy of being recorded, the dissatisfaction and anger in my movies, the origin is to myself, my ridicule is also directed to myself, when my cognition of myself, the cognition of the world is not clear enough, I'm not afraid to show these deficiencies, and the same goes for movies, I never thought movies should be perfect. ”
In Geng Jun's impression, the best movies about the northeast come from Hong Kong directors Hui Anhua and Chen Guo, because they capture people in the shot, and many directors use the northeast in the shot.
【Secrets that cannot be said】
Women often possess hidden powers to document life in greater detail
When Qin Hailu filmed Chen Guo's "Durian Fluttering", she was less than 20 years old, with a solid foundation in opera, a northeasterner, young and immature, making her a candidate for the heroine Ah Yan. Around 2000, the wave of layoffs shrouded the entire northeast, the theater school graduate Ah Yan in order to change her life, chose to go south, she applied for a two-way permit in Shenzhen, used the validity period of the certificate to hong Kong as a massage girl, running in various streets in Hong Kong every day, and then sent money back to Mudanjiang's hometown, because of the identity problem, Ah Yan did not dare to cause any conflict, but in order to protect another girl who relied on a two-way permit to work in Hong Kong, she took the initiative to stand in front of the police. After the expiry of her documents, Ah Yan returned to her hometown of Mudanjiang, wanting to delete her Experience in Hong Kong and return to her familiar life, but the phone kept ringing, and the outside world had become an interloper in her life. Friends made in Hong Kong suddenly sent durian, warmth and cruelty came at the same time, and the meaning also came.
The returning Ah Yan is the object of everyone's envy, but in order to keep her secrets in Hong Kong, under the changes in various social relations and family relations, she can only make up various reasons to avoid the topic. Some of her compatriots have also chosen to go south because of her "success", and perhaps after returning, they will also have their own secrets, the distance is not beautiful, and the hometown is lifeless. Ah Yan re-stood on the opera stage, with a standard body and professional singing voice, but the audience had no interest and paid little attention.
The whole movie is emotionally restrained, there is no stereotype and curiosity, Ah Yan's life, and the concept is not imposed, and the film gives an explanation of fate in its own way. Man should not be a victim of the times, the times are only a small part of man. This kind of humanistic care in that period was like a treasure embedded in the bottom of life.
The righteous woman played by Qin Hailu in "The Piano of Steel" is a light that breaks the heavy reality, and it is the romance and resistance in the predicament.
Qin Hailu also created another classic northeast female role in the movie "The Piano of Steel", she played Shuxian is very righteous, is the most important female role in this male group portrait movie, but the role of Chen Guilin played by Wang Qianyuan is too plump, resulting in Qin Hailu playing Shuxian slightly ordinary, if you carefully review the plot, you will find that Shuxian almost has all the advantages of the film, bravery, righteousness, sincerity, and at the same time, she faces no less difficulties than men, but there is no need to use farce to find dignity, She participates only because of love and instinctive resistance to unfair reality.
Her resistance is silent and quiet, and when all men struggle with fate, only she accepts life, which requires more courage and boldness than struggle. In a way, "The Piano of Steel" can be seen as a film driven by two female characters, the ex-wife and Shuxian, even if it is a subconscious presentation, or an unconscious coincidence.
In the movie "Daytime Fireworks" directed by Diao Yinan, the ex-wife played by Ni Jingyang also gives people the same feeling, and the role is not much ink in the movie, but her appearance not only breaks the characteristics of Liao Fan's temperament, but also foreshadows Liao Fan's final choice in Gui Lunmeng. The ex-wife played by Ni Jingyang is like a clue, in the fog of the case, the ending is a priori. In excellent northeast-themed films, female characters usually have a hidden power, not limited by geography, and the place where their emotions arrive can be shared with everyone. Just like in "A Generation of Grandmasters", for men, the northeast is the trade-off and choice that must be made between the righteousness of the homeland and the morality of the jianghu during the Japanese occupation period, and for Gong Er, the northeast only means the hometown, revenge. There is also the delayed release of the movie "Flames on the Plains", based on the novel of Shuang Xuetao, the girl Li Fei in the original novel, representing the secret of the teenager, when she met her childhood partner Zhuang Shu again when she became an adult, the secret of the teenager eventually became the clue to unlock the truth of the case.
Ni Jingyang played his ex-wife in "Daytime Fireworks", although the role is very small, but the cool temperament coincides with the tragic theme of the film.
In the Northeastern narrative constructed by film and literature, women's writing is usually different.
Just like Shenyang female writer Su Fang ("Some Moments"), she is similar in age to Shuang Xuetao, Ban Yu ("Getaway"), Zheng Zhi ("I am waiting for you at the end of time"), the growth environment is similar, but it is rarely classified by the media into the sequence of the new generation of northeast writers, in her novels, the northeast is not only not the theme, or even as a background, emotions and private memories replace the collective scars, the change of the city, but a history of the demise of a person's romanticism. Earlier generations of northeastern female writers, like Chi Zijian, author of "Pseudo-Manchukuo" and "The Right Bank of the Erguna River", the history in her stories is never related to grandeur, it is a picture unfolded by people.
The narratives of male writers are often concerned with history and waves, while the narratives of female writers are mostly constructed by emotions and specific lives, and this kind of writing is not a historical reference, but a more detailed record. When Ni Jingyang filmed "Daytime Fireworks", she saw the scene in Harbin in the old days and felt that she had suddenly returned to her youth, and she said that the withering in the scene was accurate, but her feelings were only familiar. At that time, she was a basketball player in the sports academy, even if the wave of layoffs and the reform of state-owned enterprises had a huge impact on her life, but her memories of the around 2000 were only in the sports academy, "In fact, out of the sports academy gate, it is the scenes in the movie, but I don't know why, even if I am familiar with it, it is always like a door."
Coupled with "North by Northeast", "Snowstorm" and even the remake adaptation of "The Dedication of Suspect X", suspense and blackness have become a significant style of Northeast imaging, and it seems to have become a new way of displaying "Rust Belt".
【People trapped in time】
The characters in the Rust Belt become symbols of suspense and absurdity
In 2003, Wang Bing's documentary "Tiexi District" came out, and the English translation of the first part of "Factory" was "Rust". "Rust belt" originally refers to the spatial remnants of the transition from large industrial areas to the post-industrial era, because the "rust belt" is too wide in the northeast, the remains have also begun to shift from space to time, and the "rust belt" in time seems to be more expansive in the northeast theme movies. But regardless of space or time, the "rust belt" is only a description, not a sign of merit or inferiority.
Unless the Northeast theme film is interspersed with a clear historical event, the time of the story is usually generalized as a period, so the background of life in the Northeast theme film often has a vague sense of similarity, it seems that no matter how far away the physical distance is, those characters may enter another movie at any time, and their fates will be freely exchanged. Just like after the popularity of "Mohe Ballroom", the best mixed-cut video of B Station is Fan Wei's solo dance in "Blessed Ears", Liao Fan's solo dance in "Daytime Fireworks" and the characters in "Relaxed + Happy".
There are very few northeastern movies that can jump out of the "rust belt" of time, and Dapeng's "Auspicious Ruyi" is the most thorough one. "Auspicious Ruyi" is an undefinable film, and the word that director Dapeng mentioned most in an interview was Providence. Yes, if one has to describe this half-documentary, half-plot, half-realistic, half-fictional film, only the word Providence is accurate.
In "Auspicious Ruyi", the daughter who stayed in the big city did not return to her hometown in the countryside for 10 years" and "not going back" and "can't go back", there is a cold reality and psychological distance.
The film is composed of two parts, "Auspicious" and "Ruyi", the shooting motivation is also different, Dapeng originally envisioned to shoot a family documentary about Grandma at the New Year, but Grandma accidentally fell and was injured, died of illness, a series of sudden changes, the original shooting plan was broken and reorganized, Dapeng followed these changes to record, achieving a film that could not be copied. If you single out either of the two parts, you can recall Huang Jianzhong's film "New Year" in Jilin in 1991. The two films are separated by a full 30 years, but the scene of the New Year in the countryside, the daily life of the town, there is almost no obvious change, and the story may be replaced on the "rust belt" of time.
But the meaning of Providence is that when the two parts of "Auspicious" and "Ruyi" are combined into one film, they are no longer associated with any work. "Auspicious Ruyi" puts something outside the movie into the movie, replacing the performance with an instinctive emotional response, and both professional and non-professional actors become participants in life, rather than observers and shapers. This makes "Auspicious Ruyi" not only jump out of the 30-year time "rust belt", but also jump out of the conventional narrative of Northeast realism. It's not necessarily the best, but it's the most special Northeast movie.
And "New Year" is a realistic work that is extremely neat in all aspects, if "Auspicious Ruyi" is essentially a record of the family, then "New Year" is an exploration of family relations. It is closer to literary standards and fulfills the judgment of reality in a literary way. "New Year" and Zhang Huizhong's "Male and Female Director" are the two directions of Northeast theme films, and the expression methods of the two focus on literature and stage, which have influenced many later Northeast theme films. (Note: Zhang Huizhong is the father of director Zhang Meng)
Compared with the dramatic tension brought about by the tide of the times, the sentient beings within the northeast family are much weaker, so it has never been the focus of the theme, and director Yang Lina's "Spring Tide" is the coldest one in all the northeast family theme discussions. "Spring Tide" is not a friendly movie, full of depression, three generations of women in a family have their own misery, eager to understand but hate each other, can be seen as a drama version of her previous documentary "Family Video". Her coldness may be related to her documentary background, in the field of Chinese documentaries, Yang Lina is an important director, the first DV work in China was filmed by her, and the director Geng Jun's early DV films were also influenced by her. "Spring Tide" is her second work after transforming into a feature film, and the first work, "Spring Dream", is also a style between documentary and drama.
The three films that focus on the interior of families in northeast China, "Auspicious Ruyi", "New Year" and "Spring Tide", were all filmed in Jilin and were not in the "rust belt" of time because they kept a distance from the times. "Hello! "Mr. Tree" is a film in the standard "Rust Belt" time, but it does not set the contradiction on the conflict between the individual and the times, it expresses the hypocrisy of the class and the harm of the bottom.
《Hello！ "Mr. Tree" tells a simple and depressing story with the absurdity and desolation of human nature.
Wang Baoqiang played by the tree brother in the car repair shop work, he all day beard, do not trim the edge, the father lost his hand in the early years to kill the eldest brother, the younger brother went out to work, now the family is only him and his mother, life is difficult. The town's mining plant was expanded, occupying the land of Brother Shu's family, and he complained about the matter at the banquet and was forced to kneel down and apologize. Because he wanted a crown wedding car when he got married, he was taunted and beaten by his brother. After that, Brother Shu's behavior and language became more and more bizarre, and he knew how to calculate without a teacher, and after several times of sluring, Brother Shu became a guest of honor for the magnates in the town, he used madness to win the respect and fear of others, and the malice around him for a long time also stopped with his madness. At the beginning of the movie, Brother Tree dissuades a group of children who are fighting, and the children ask him, Who are you? This question is the basis of the whole movie, when the crazy man who can pinch and calculate replaces the tree brother, he has the opportunity to complete a nameless generation's counterattack against the power, the wealth upstart and the evil of mediocrity.
There is more than one way for the unknown to fight back, and the anonymous husband in "Daytime Fireworks" chooses to take revenge by extreme means, and the object of his revenge is still the evil of wealth and mediocrity. But in the end, even his revenge is swallowed up by the environment, until desire, secrets, and dignity are all covered with snow, fireworks cannot illuminate the day, darkness breeds all evil, and no one is innocent and clean.
《Hello！ The madman in Mr. Tree, the murderer and the catcher in "Daytime Fireworks", the former lives in a magical reality, the latter struggles with black fate, but in a sense, they are all in the same time "rust belt", so the tragedy here is always somewhat similar.
Beijing News reporter Tang Bo
Edited by Huang Jialing Proofreader Zhai Yongjun