"Look at this group of people, a big group of people, so many people, flocking to the store to shop, these people are wearing masks, they can't see their faces, they are coming like a tide, we are all in the crowd, I forget my face, I forget my voice." 」
Yuan Zi warmly loved movies, even group performances, they were neither meat nor cheese in the hamburger, but onions that felt like something was missing if they didn't have it. Everyone is a point, the audition is a line, the line and the point are not commensurate, but life is like running on the elliptical loop, and the contradictions are constantly every point because of the same dream, the same loop line meets again and again.
Since they all play hypocritical roles in their lives and do group performances that no one knows, why do they continue to pretend in movies with their own enthusiasm?
<h1 class="pgc-h-arrow-right" data-track="27" > Yuan Ziwen filmed a "I Am a Passerby"</h1>
A hysterical vent, the 146-minute film accumulates a suppressed nine-tenths of the time, just to make an emotional outpouring at the end:
Through the mailbox to connect the fragments of a personal character, the experience of each group performance is as meaningless as the narrative of each fragment, even in their own real life, the group performers can only act as group performances, and finally the anti-routine madness really sublimates the whole movie.
The personal style is very strong, even this kind of subject can be filmed so evil, and the film of Yuan Ziwen also has the style of Shuji Terayama.
Once it was hot blood, now it is hard blood, hot blood, this thing, too much demand is not as good as secondary two. It looks like a patchwork of "Wheel Dance" and "Camera Don't Stop". Talk too much, a girl with a dream? A director who never forgot a deceased lover? The film has been kidnapped by various capitals? Or is it passers-by?
Anko is indeed beautiful, but in the stew, it seems to be extremely human. Only the passers-by who love to sell shoes on the side of the road blow more and more full, and the end of the big climax, he is the most playful existence, helpless and pure. Yuan Ziwen is also old, but he still loves brainless breasts.
A large number of group plays, handheld shots, and even the lens style is not uniform, the pace is fast and slow, and collage the character white depictions commonly used in literary and art films, if you do not consider the political nature of the film, it is easy to think that it is stewed with a pot of beautiful soup.
But the film can be broken down into a three-tier narrative of literary criticism:
The first layer is a simple separation between the first few seconds and the last few seconds, stating that it is a "meta-film", a film about film production, which is the exposure of the operating system of the entire film industry by writing scripts, casting, filming, and filming;
The second layer is to express some of the views of The author of Yuan Ziwen himself, for example, the selection of non-professional actors is not only to save budgets, the group performances that appear in each shot should not be like the wind and fog without leaving a trace, the script of each life will have jagged tragedies and joys, not the only one who gets investors into bed is qualified to be the protagonist, film art should not be an art of worshiping power and money, this is the politics of Yuan Ziwen;
The third layer is the script in the hands of the director Kobayashi, a script that has been held hostage by power and is ready to be selected for the European Film Festival. In short, Japan also has Japan's Wu Mengda, and the real drama bone itself will be a legend.
<h1 class="pgc-h-arrow-right" data-track="27" > the smooth parallel of multiple creative motifs</h1>
Putting aside the historical biases of being a Chinese, I really like Japan.
From any point of view, the film can show the lives of people in different countries and regions very well, and it is also an important way for me to understand the world.
The atmosphere of respectful and courteous life and the rigorous and humble style of conduct are the most important reasons for my affection for Japanese culture and an important factor in my ideal society.
Japanese films have their own characteristics in terms of style, editing, and mirror movement. The picture is always bright and clear, giving people a relaxed and bright feeling. In addition, their feelings are also very rich, and the stereotype of Asians is cleverly used on japanese people, which is inevitably a little unjust.
Yuan Ziwen's movie, the most worth looking forward to is the last twenty minutes, you don't know what kind of flower work he can do, but it is so much looking forward to it, and the unknown surprise is called a surprise.
All in all, Yuan Ziwen stuffed too many emotions into a movie, pity for sentient beings, desire for film art, dissatisfaction with reality, too many emotions, so that the whole movie exploded in the last twenty minutes.
Yuan Ziwen's movie is very interesting, you are after two hours of confusion, when the lights come on again, just think of rushing out of the movie theater and running on the road. This is undoubtedly an extremely powerful force.
A declaration of freedom to the world, connecting groups through a red mailbox. The whole world is dominated by cement roads, which are neither good nor evil, but are used by man to control other people, a world full of capital and pressure, and if you choose to stand idly by, freedom will disappear forever. The film dream of the group is the director's dream of freedom, and it is a cry and declaration to the world.
The film focuses on people who may never shine, people who suffer from loss, people who can't face up to their own desires, people who are afraid of society, and presents the simple and real charm of group performances from their perspective, all fantasies need to meet a friend.
Even if you don't have a camera, you have to break through the control and be brave enough to be the protagonist of your own life. The subtlety of the film lies in the smooth parallelism of multiple creative motifs, creating a unique "field" with a prose-style structure, so that the faceless group performance can also say that I also want to be a star.
<h1 class="pgc-h-arrow-right" data-track="27" > inside and outside the lens, everyone has real freedom</h1>
Falling in love is so cheap, then entrust your soul to the wind. I'm just a face in the crowd, but even a mist that creeps across the screen has a raison d'être. You pretended not to wear a mask, buckled the wrong button, and chose to give in. We are all protagonists of life, and if we stand idly by, freedom will disappear forever. One day you will meet the real me, a fool! underdog! Despicable villain!
This film is a love letter sent by Mr. Yuan Ziwen through the red mailbox on Escher Street to the group performers who sincerely love to perform. Using the slender and soft thread of Symphony No. 40 in G minor, we connect a series of needles with different sharp edges, some of which are enthusiastic, some gentle, some of which are depressed, some of which are outgoing, and some of which are disordered.
Dissecting the wonderful and colorful group dramas, there is almost no unified tone in the whole film, sometimes fresh, sometimes sad, sometimes shouting, sometimes gloomy, sometimes cheerful, sometimes wild. Thousands of styles, twisted into a single thread. This love of cinema, so earnest. It's still very warm.
Nearly two and a half hours of film length, multiple perspectives switch, gradually from a gentle narrative to a group of demons dancing like a riot, the letter into the red mailbox, written with Yuan Ziwen's most sincere love for the movie. Seeing the final, hysterical roaring group scene completely breaks the barrier between reality and the movie, and gives the characters unlimited imagination to jump out of the plot framework at will.
Thank you for watching, and I will take you to learn more entertainment stories.