Rural girl Xiao Xian's memory always hides some stories related to her mother, these stories are not bland, but there are not too many waves, recalling the story of being with her mother, Xiao Xian's memory will always unconsciously stay in the last seven days, because in the last seven days, her mother finished dinner, and then slept forever.
"Mom and Seven Days" tells a story about maternal love, but this story is not all about maternal love, but more like a scene replay. Those familiar stories, those familiar people, are presented in their entirety in a way that does not require words. Xiao Xian's mother was pregnant, his father went to the city to work, and only the elderly grandparents and sensible Xiao Xian were left in the family to take care of the family, but one night, when the mother was in the basin, she finally died because of difficult childbirth, Xiao Xian's life seemed to be missing a corner, she couldn't say which corner, but she really felt it.
The film "Mother and Seven Days" with a certain nostalgia shows us a picture scroll, but this picture scroll is not as sound and colorful as the general story, the color and language of this film are not as rich as the stories we have experienced, but give people a feeling of fragmentation, this fragmentation, in fact, contains all the memories of a little girl.
Usually in the mood of adults, we can see the cause, the pass, the effect. From these three elements, we can sketch a near-perfect story, but in the child's memory, this perfection does not exist, there is no such outlined story, there is no story with a complete story chain, some are just fragments, are these fragments related? Yes, but from the perspective of a child.
"Mother and Seven Days" can basically see the differences, Xiao Xian's perspective is a child, Xiao Xian as a child, the story she has participated in has the value of showing, and all the stories in this film are all xiao Xian has participated, such as helping her mother work, taking care of her sister, eating with her family, going to school and so on. These messy scenes are connected with a pair of pictures related to Xiao Xian, and in these pictures, we find those stories related to the mother to see, and the theme of this film will be revealed.
Audiences accustomed to the adult perspective will not be interested in the themes presented in this film, because of the different perspectives, we see more referential scenes than the inner core centered on Xiao Xian in this film. For example, the sunset on the edge of the sky, such as every meal that Xiao Xian himself has eaten, and so on. These scenes connect a transition from the adult world to the child's perspective. And this is also one of the characteristics of this film. A memory of a mother presented from two perspectives. Only then can we know exactly the story of this film.
The inner core is greater than the external performance, which is the point of view presented by this film, and the value of this point of view itself lies in showing an intuitive feeling different from the previous movies, which is an advantage, of course, the shortcomings of this film are not nothing. Immature lines are often better than nothing, as a film that does not focus on lines, the sentences in this film are basically very restrained, but for such a theme, the restrained sentences do not play their due role in the restrained scenes. The creator may want to use restraint to present a child's perspective, but the child's perspective is not only restraint. The only happy scene in the film is the children in the school playing freely, but this is obviously too pompous for Xiao Xian's role in this film, and Xiao Xian can't be so playful, because this does not fit the environment she is in, let alone the theme of this film, so the contradiction arises.
When the child's nature is suppressed, it uses a restrained method to show the audience a children's world, is this world real or false? This problem seems to be a conundrum for creators. If the creators of this film intend to present the last seven days with their mother from the perspective of a child, then the restraint in this film is a kind of adult disguise, in order to disguise as a child, this film suppresses its own emotions.
On the contrary, the perspective of the child presented in this film is a failure, because the child's perspective is not so cold, the child is full of laughter, this laughter does not always accompany the whole film, but it also exists most of the time, but the tone of the film from the beginning is biased towards gloom. This is clearly not a child's perspective.
When we encounter something in childhood, but there is not much emotion to accommodate the thing itself, this will cause us to repeatedly take this thing out and read it in adulthood, and in the process of reading it, we will naturally feel the referentiality of something in those scenes that were not easy to detect. Therefore, after looking at something from the perspective of an adult, you will come to a different conclusion.
This is not to criticize the creator's control of the film, but to say that when the creator carries out artistic processing, what he needs to grasp is to grasp a point, and then carry out artistic processing according to the characteristics of this point, rather than transforming and upgrading this point according to the characteristics of art. The latter reflects the "difficult problem" in this film, while the former is a more peaceful display, showing emotions that may not be so many metaphors, but more touching. We respect the attempts of domestic films, but this attempt may be more stylistic.
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