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Recently, the documentary "Make a Good Movie", which tells about Xu Anhua's creative career, has been well received.
The second brother originally wanted to write a long article to recommend, but in recent years, the Jianzhong network has no release channel, and decided to find another way to put it in the future book.
"Make a Good Movie"
Director: Wen Nianzhong
Several friends participated in the planning and filming of "Make a Good Movie", and here can be a few more conversations. This movie was seen by mainland movie fans at the end of last month because it was launched on Taiwanese streaming media. For the filmmakers, it passively finds the right audience – just like twenty years ago, but in this process, the filmmakers themselves are losing money, without any benefits or revenues.
Due to the impact of the new crown epidemic, "Make a Good Movie" should have premiered, when the Venice Lifetime Achievement Award was promulgated, and it was a walk around the world. Due to practical reasons, the film could not enter the mainland for screening, and it became today's situation. In the past two years, there have been many films that have been "screened" by similar streaming media and online film festivals. Zhang Ji'an, the director of "Southern Witch", has recently been overwhelmed and has produced an image of a curse.
Some time ago, there was a big trumpet with a sensational title to discuss the film, which triggered public anger. The unkindness of the trumpet is that in the face of a film director, an elder, it uses the most flirtatious, but brainy, humorous way of entertaining the public to discuss Xu Anhua's facial anxiety.
Such a thing also exposes the multi-layered chaos of mainland movies. Not to mention making a good movie, under the guidance of traffic first, we can't even discuss the movie well. In the view of the big number, Xu Anhua is undoubtedly a director without traffic, and must deceive the clicks of ignorant netizens through sensationalism. In this way, their behavior is contrary to the craftsman spirit that the film wants to convey.
Many people may not agree that Hui Anhua is the best director in Hong Kong, or the most influential Hong Kong director. As she self-deprecatingly feared that the next play would be uninvolved and unsuccessful at the box office. Her uneasiness, her dependence on other people's scripts, more or less, was reflected in her forty years of ups and downs. But it can almost be said that Hui Anhua is the director of Hong Kong directors. Film colleagues are convinced that fans and audiences should also know. Hui Anhua's life is made up of movies, and many people learn about Hong Kong through movies. When people grow old helplessly, history repeats itself in the city. At different times, read the words "make a good movie", Keep Rolling, don't shout stop. It takes faith, and it takes a miracle.
Due to the delay in the release of "Band of Seven", I will continue to watch Du Qifeng's documentary "Endless".
In a sense, the emergence of "Endless" and "Good Film", including the special exhibition of Hou Xiaoxian's 40th anniversary held in Tokyo, which will appear below, are repeated promotions of classic films and important filmmakers. The history of classics or masters is that different people, different times, again and again recommended and reminded, a movie is mentioned, the number of repeated viewings continues to increase, radiation affects subsequent generations and more fans, it can be classic, he only ranks among the masters. As for those films that have little nutrition, they will quickly be washed away by the torrent of time.
Timing is also important. On the surface, it seems that you can shoot at any time. However, just to say "Endless" and "Make a Good Movie", if at this moment, I have only begun to prepare for shooting. The actual difficulty can already be imagined.
My earliest exposure to this type of filmmaker documentary began with French 🇫🇷 director Assayas's Portrait of Hou Xiaoxian and German director 🇩🇪 Wenders' Looking for Ozu.
As early as sixteen years ago, I wrote a review of "The Portrait of Hou Xiaoxian".
Starting from the beginning of "Childhood Past" and ending in "Goodbye to the Southern Kingdom, the Southern Country", there is no human-like sigh, but it is a relief like a large part of life. From the road to Fengshan in Kaohsiung to KTV in Taipei. In addition to the film clips of several family treasures, there are too many revisited and touching details in "Portrait of Hou Xiaoxian", reliving the past and saying goodbye to yesterday.
Like the text he had seen before, Lao Hou compared to the camera, talked about the mango tree in the county magistrate's mansion, and felt the impulsive reason for shooting a movie for the distance of life experience; he took Asayas to take the Pingxi Line train of "Love wind and dust", the light in and out of the tunnel was dark and bright, Lao Hou said his curiosity about the way everyone thinks; in the small shop, he said his opinion on the current theater line in Taiwan, his views on the relationship between Taiwan, Hong Kong and the mainland, and the dream of opening his own movie theater.
https://movie.douban.com/review/1067635/
Recently, watching the books of Taiwan's new film capable generals, screenwriters and writers Ono (Li Yuan), including some time ago on the history of Taiwan, my praise for Hou Xiaoxian and Yang Dechang seems to have been renovated. I seem to think that they are better than I had previously imagined.
Especially in ono's books, I saw that he also had a grandmother like "Childhood Memories", and his high school night life was as dark and depressing as "The Juvenile Murder Incident on Muling Street". At once I couldn't tell whether this generation of Taiwanese from other provinces had a similar fate, or whether the film influenced their narrative to some extent.
Hou Xiaoxian inherits the previous director Li Xing. The old man has a long life expectancy and has just left recently.
He devoted his life to cross-strait film exchanges, and his film achievements are indispensable. Taiwanese director He Ping also filmed the documentary "Xingying Never Leaving", commemorating the merits of director Li Xing, which will be screened at the closing of Jinma.
By chance, when I was in Beijing, I also attended a seminar directed by Li Xing. I'm ashamed to say that I don't feel that I have studied Li Xing's works in depth. In reverse, maybe the documentary about him should have been filmed earlier, and this queue to be filmed also includes more directors such as Wang Tong. After all, the attention of all of us was once limited, and now it is even more limited.
Hou Xiaoxian has several famous fans, the United States is Jarmusch. France is the assayas in front of him, and mainland movie fans like to call him Maggie Cheung's ex-husband. Several east Asian directors are peering fans, and the lineup is even more frightening. They are Lee Cang-dong of South Korea, Kore-eda of Japan, and Jia Zhangke of the mainland.
Jacques also has his own fans, such as French director Deplerchamp and Brazilian director Walter Cyrus (Central Station, Moto Diaries). Walter Cyrus and French film critic, former manual editor-in-chief Fu Dong, two major section chief fans came to Fenyang to dedicate a documentary, which is "Fenyang Boy Jia Zhangke".
If you are as familiar with the world of Jia Zhangke as they are, the movie should not be too smooth to watch - it is completely based on the intuition of the fans. The film returned to "Xiao Wu", "Platform", "World", "Destiny of Heaven" and many other filming locations, I vaguely hope that there can be more different points, burst points or tear points, but the film is only simple, painting a portrait of Jia Zhangke. In the middle of the lecture, the shooting is a bit lazy, but when you see the surging young students, you know who Jia Zhangke's most loyal audience is.
Another face, full of fan enthusiasm, almost saintly piety and choice of sacrifice of the filmmaker documentary, is probably "I served Kubrick". Leon Vitaly played a supporting role in Barry Linden, whereby Kubrick's demon entered the Way of Kubrick.
The film is dominated by Leon's dictations and interviews with groups of relatives and friends, paired with his performances in films and sitcoms. For fans, the most exciting thing is, of course, Leon's participation in and witnessing all the works of Kubrick in the second half of his life, various fragments of "Barry Linden", "Clockwork Orange", "All Metal Shell", and "Eye Opener". Some people did not understand why he left Kushin, it was nothing. The reason is simple, his whole person has been hollowed out by the great god (you can compare the difference in his old age and that of his brother). Kushin must have liked Leon, after all, his characters in Barry Lyndon and Eye Opener are absolute terminators.
If it is said that as a behind-the-scenes worker, Leon Vitali is not well known, the documentary about photographer Li Pingbin, "Traveling with Light and Shadow", is almost an important part of Chinese films, especially Taiwanese films.
For Li Pingbin, he feels that the photographer needs to pay the most attention to light, and light is like the soul of photography. To capture the subtlety of light, it is like a ceramic artwork that takes time to pound. He excels at shooting in under-lit and dim light, which is best seen in "Dream Life", "Flowers on the Sea" and "Fancy Years". The film talks about the skylight in the old house, and I can't help but think of two cases of natural light and artificial light. First, Wu Nianzhen filmed "Dosang", and he put important dialogue scenes on the threshold. In his memory, the old house was dimly lit, and the gate was where the light came in. The second is relatively close, shooting "A Page of Taipei", in order to create a night atmosphere in the city, the streets are specially sprinkled with water, and the ground can reflect neon lights.
https://movie.douban.com/review/5025761/
If the memory is not wrong, the first time I heard Lin Shengxiang's music 🎵 was in this "Traveling with Light and Shadow".
The filmmaker documentary that remembers the old dreams of the deceased is actually much earlier than the time I saw "In Search of Ozu". Due to the communication gap between the East and the West, the Japanese Ozu and Naruse were rediscovered in the Western film industry, just as the "Film Handbook" school found Hitchcock, Howard Hawke, and Nicholas Ray, and in the process, it was often the easiest to produce filmmaker documentaries related to film history. So it is not an exaggeration, "Make a Good Movie" and "Endless", they recorded, not only Xu Anhua and Du Qifeng, but also participated in the writing of film history.
This kind of documentary, the more special one, is probably the old grandmother Varda. She put the documentaries about herself and about Demi, those beautiful battles, she finished - no one else's business, every one, is a beautiful farewell.
If you are caught off guard, like Hong Kong directors Lin Lingdong and Chen Musheng, it is too late to have documentary time to stay. In the same way, this year's "Imatoshi: Dream Machine" carries unfulfilled wishes, including "Ten Years, Goodbye Yang Dechang" (series of documentaries), which has been jokingly called "Yang Dechang Spit Conference".
Finally, review the list of filmmaker documentaries that have been pushed this time:
"Endless"
"Fenyang Boy Jia Zhangke"
Portrait of Hou Xiaoxian
"Ten years, goodbye Yang Dechang"
"Traveling by Light and Shadow"
"Walking Shadow And Don't Leave"
"In Search of Ozu"
"I Served Kubrick"
"Imatoshi: Dream Machine"
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