Time Contributor | Hawthorn is not slag
Veteran member of the Lost Money Movies Alliance.
Not long ago, the popularity of the domestic drama "Beginning" brought fire to a middle-aged actress.
Whether the story is rotten or not is still controversial, but the crazy people of "Aunt Pot" have seen it and said absolutely that she can compete with Zhang Dongsheng for our "Adult Shadow" championship and runner-up.
If you say that in the early stage, Aunt Guo showed more of the indifference and cruelty of an antisocial personality.
In the last two episodes, actor Liu Dan perfectly interprets the fragility and despair of a middle-aged mother after the loss of her daughter, making up for the paleness of the plot in the transformation of the characters.
Aunt Pot is out of the circle, even with Liu Dan's cold appearance when she was young, and the same-sex ambiguous dramas she has starred in have also been widely discussed and forwarded, and Shi Shijun wants to recommend this old film she played-
"Night Train"
Director Diao Yinan's second feature film after his debut was shortlisted for the "One Kind of Attention" section of the 60th Cannes Film Festival.
We can see that it has a certain isomorphism with the director's later "Daytime Fireworks": complex and entangled lusts, signs of the times of the change of old and new, snowy scenes, and hidden "female killers".
It is a women's film, involving many gender issues, but also retains the most original picture style of Diao Dao.
Not only is the scale bold, telling the lust of a policewoman, but the strangeness of the story comes from how she willingly embarked on the road of death step by step.
"Kill" the woman
Whenever a movie associates a woman with a night, it is inevitable to hide hints of eroticism and write dangerous signals.
Because she was deceived into prostitution, Zhang Lingling retaliated against the murder and directly buried her entire life.
At the scene of the trial, no family member was willing to appear in court, and her husband Li Jun (Qi Dao) was even more invisible.
Zhang Lingling was scolded as a "murderer" and sentenced to death, but no one cared about how she became a victim at the beginning of the story.
Female police officer Wu Hongyan (Liu Dan) is no exception, and she is responsible for shooting Zhang Lingling.
In the eyes of outsiders, Wu Hongyan has always been indifferent, and even lacks humanity, and can execute without tears. The family of the deceased cried and complained, and she yawned in boredom.
Wu Hongyan works in Pingchuan City, and in the evening she will take a train back to Lincheng, a small township where her home is located.
There is a hidden side to her here.
In the lonely and lonely Lincheng, widowed and unmarried middle-aged men and women will shake in the middle of the dance floor, using the proximity of their bodies in exchange for temporary comfort and possible "second spring", Wu Hongyan also wants to wait here for the warmth of whoever brings.
The first person to talk to her was a worker at a nearby factory who was doing odd jobs.
The economic conditions are not good, but it will be magical and can make her laugh.
After a few conversations, Wu Hongyan returned home with the man, but regretted it when he was put on the edge of the terrace and forcibly stripped off his underwear, and left like a fleeing life.
She wanted to store the secrets of her desires in another place without disturbing her original stability, but it always backfired.
At home, her ears were slightly close to the wall, and she could hear the vague moans of the hair salon sister and the guests who lived next door, as if it were a clamor from her chest.
She often opened the door and played the usual melancholy sounds in the streets of the dance hall, and everything was shaking the inner order that had cracked.
First there was fear, then there was longing.
Later, she couldn't help but accompany the faint syllables flowing out of the door slit, and began to clumsily imitate the pole dancing posture of the stripper in front of the mirror. From a condescending scrutinizer to a mortal, he was finally overwhelmed by the rolling red dust.
Gradually, she was originally a regular visitor to the town's marriage agency, and she no longer expected the solid and loyal emotions promoted by traditional values, but instead put down her reticence and looked for a kind of fast-food comfort.
Knowing that the blind date is a childcare, she is also willing to pay hundreds of pieces more, for a customized warmth: a "boyfriend" who only sings for herself, a night road accompanied by someone, and can lean on the shoulder.
But in the end, she let go of the man because she was clearly aware that she had entered a gray area. I want more than that, but that's all.
Nest of men
As a female criminal police officer in the courtroom, stripping away emotional judgment and absolute rationality is Wu Hongyan's survival habit, and it has almost become the main reason for her loneliness.
For Li Jun, a worker who has been buried in the coal mine all his life and buried his face in the coal mine for food, violence is a way of resistance that he accidentally discovered after his wife was sentenced to death and his son was taken away.
His wife, Zhang Lingling, retaliated against the murder, and as a husband, he did not attend the trial, but floated in the deserted reservoir all day long, looking at the water with an almost demented expression until he was awakened by the reservoir keeper with a stone.
From relatives, to colleagues, and even sudden fraudsters, they can casually scold him. It wasn't until the death of his wife left an irreparable tragedy that he finally collapsed.
Li Jun began to follow Wu Hongyan, and some kind of thought sprouted in his mind.
If Wu Hongyan is confused from the originally determined life, Li Jun is in a chaos, absolutely moving toward revenge.
Just like the first head-on encounter between the two in the tunnel.
One person paused, but could not find the originator of the sound, and one person changed from a blurry silhouette of the close-up to a black silhouette until it completely disappeared into the dark side.
Two lonely and pathetic souls collided.
The story develops as expected, the two have a relationship, before and after the two erotic episodes, but present a completely different atmosphere, but also highlight Li Jun's psychological changes.
A sexy temptation, before the substantive intimate behavior, just touch, Li Jun was excited to the face twitch; a rough and direct, Wu Hongyan has not completely taken off Li Jun's shirt, was forcibly overwhelmed, no foreplay, quickly ended this sexual affair.
Wu Hongyan, the criminal police officer who shot his wife Zhang Lingling, was originally the object of revenge identified by Li Jun, but unexpectedly became the person in the world who needed his existence.
She even plans to get off the bus halfway, stop going to the marriage agency, and live a life of two people with Li Jun.
A desire for sex, a desire for respect, as if it can really be crooked, into a pair of cogwheels that bite just right?
Speeding train
The name of the movie is "Night Train", which is eager to go, but also like a rush to escape.
Wu Hongyan travels back and forth between Pingchuan and Lincheng, hovering between desire and a stable life.
Li Jun was ready to pay for his life, trying to use violence to retaliate for the cold eyes and indifference he had been suffering, until he met Wu Hongyan and really began to "live".
Li Jun sniffed the red scarf left by Wu Hongyan
The two are more like companions on a train than "lovers".
The purpose of getting on the bus may be diametrically opposite, but because of the confusion about the destination and the uncertainty of the time left in the "gray area", the tacit understanding chose to huddle together for warmth.
They are like the literary troupe in Jia Zhangke's movie, flowing and bustling, but it is more like singing a wonderful elegy with their last breath.
That era of mobility destroyed almost all the "rules" that were taken for granted. Industrial belts and development zones replace industrial factories, and the heat of investment in construction is higher than that of building houses and agriculture on which villages depend for their livelihood.
Farmers stopped official cars at the police station and resisted the expropriation of land as a place of execution. Sandwiched between the villagers and the police station cadres, the village chief thought of a long-unused wasteland 20 kilometers away from the village and town, and the field investigation found that he had not escaped the rumble of the machine.
Whether it is the power system represented by Wu Hongyan's identity or the eliminated old labor force represented by Li Jun, they are all in the gap between the speed of the times and the world around them.
Can't catch up with the former, it is difficult to integrate into the latter, can not get off the car, and can not see the destination.
Wu Hongyan later discovered Zhang Lingling's death notice in Li Jun's workshop, understood that he was close to his original purpose, and went further, finding an axe and a knife that had always been hidden in his bag.
Survival could have allowed Wu Hongyan to choose to escape at the first time, but stopped in the middle of the road.
On the road, the peasants were hoarding firewood for the winter, dragging the board truck with horses, not thinking that it was too heavy to exceed the carrying capacity of the white horse, only hating that the animals were too lazy and not working hard enough, and beating them with bamboo whips.
The white horse was injured, but still powerless, and after struggling, he finally confessed his fate and knelt down and silently accepted the murder.
Even if the white horse escapes, it will still be used by another group of people as livestock for the carriage. Even if Wu Yinghong escapes this time, she may not really be able to "survive", and desire will continue to torment her to the abyss.
What would she choose?
The ending of the story, everyone has their own answer, and there are still different speculations to this day.
Although the film was released 15 years ago, the topic discussed in "Night Train" has continued, and Diao Yinan's use and control of film imagery has also been seen from the beginning of the film, although it is slightly rougher than the commercial films that followed, but the energy generated is continuous.
Good works, good directors, good actors, we increasingly believe in the influence of penetrating time.
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