More and more young people are going to the "extremes of the world" alone,
Half is fleeing,
Half is pursuit.
The movie "Seventy-Seven Days" is based on the real deeds of adventure writer Yang Liusong who crossed the no-man's land of Changtang alone for seventy-seven days.
The male protagonist who has lost himself in life wanders in the snowy plateau and runs into no man's land alone, the girl is still optimistic about life with physical disabilities, she makes him determined to try the fantasy adventure of no man's land that the world cannot complete...
The film takes the audience on a polar adventure, which is a physical escape, but also a soul return.
The film presents a dreamy and mysterious hidden place, once again writing a mysterious and distant Tibetan legend.
Changtang Mirror: The Secret Hinterland
In the northwest of Tibet, there is a vast, open, pristine and rough snowy plateau. This plateau, which accounts for about two-thirds of Tibet's area, is called "Changtang" in Tibetan, which means "highland in the north.".
There are vast sandy mountains, wild snow ridges, cham sky and lush grasslands.
In the film, the magnificent and strange narrative landscape is the materialization of the state of the character's mind, and under the illusion of mysticism, it projects the pursuit and pursuit of faith and passion by modern urbanites.
In "Seventy-Seven Days", the majestic picture of natural wonders and the highland elves who inhabit here are the protagonists of the film, and in this magnificent and magnificent secret realm of Qiangtang, we taste the noble purity and look at the greatness of Jingmu.
The Tibetan Imagination: Mythical Sacred Land
The Chang Tang, which is crossed by The Seventy-Seven Days, is a "forbidden area for mankind", but it is the land of oracles.
It is the "Garden of Eastern Eden" under the utopian imagination of Westerners, and it is the "place of divine care" that Chinese worship from afar.
Historically, the myth of "Shangri-La" is the poetic imagination of Westerners of the Far East and the "internal other" of the Chinese nation.
This mysterious and magnificent paradise is a rising myth and an oriental fantasy of all mankind.
For those outside tibet, this is a "mysterious, spiritual, enlightened" place of spiritual purification, a "world that can be channeled."
As a "collective other", the image spectacle of Tibet provides a peeping space for foreign cultures, forming a romantic imagination of exotic customs and other cultures.
The people's reverence for heaven and earth and the cherishing of living beings in this remote and mysterious secret realm have been endowed with mysterious fantasies. The plateau is hidden and unfathomable.
Whether it is mysterious tantra, magical ambush or fantasy rainbow, it evokes people's curiosity and awe of heaven, earth, faith, and life.
Tibet Asylum: The Homecoming of the Soul
In the film, Yang Liusong explores the true meaning of life here, and Blue Sky tries to regain the belief in survival, because only here can all distractions be eliminated and allowed to meet with the soul.
The film uses the journey as a narrative carrier, expressing the pursuit of freedom and ideals.
They sat at the feet of Kailash, a cup of freedom, a cup of respect for the distance, and a toast to each of us to the distant shrine and the call.
Under the utopian imagination, Tibet has become the Eden realm of modern people, and it is our spiritual home from afar.
The strong divinity of this mysterious pure land makes this plateau a spiritual temple for dialogue between man and god.
In the heavenly Changtang, this conceived sacred space has all the purity and beauty that we are losing day by day.
Pinned on our transcendent imagination and original nostalgia.
Tibet is often used as a symbol of rebellion and salvation in modern life, and the enlightened soul of Tibetan culture is in strong opposition to the material pleasures of the ordinary city.
Tibetan culture has become a spiritual guide in the minds of modern people, and Tibet has become a spiritual landmark pursued by modern people.
This seventy-seven-day adventure is not only a physical journey, but also a journey of the soul, a ritual of searching for faith.
In the film, we see the baptism and induction of the two souls of the Tibet Divine Domain, which reflects the loss and sinking of people's spiritual homes under the impact of modern civilization, projects the examination and inquiry of our modern people's lives and beliefs, and projects the ordinary inquiry and anxiety of lack of passion and faith.
The Other is a mirror.
Because of the other, self-construction and examination can become possible, and there is a corresponding source of motivation. Therefore, we always look at this mysterious and noble spiritual plateau, trying to find the increasingly lost self and perseverance in our intimate relationship with it.
When our ideals and original intentions are gradually weakened and faded in the setbacks again and again, in this visual feast and soul journey, unexpected obstacles and even disasters make us look back at the way of life and cherish life.
Faith is the soul of Tibetan culture, but it is also the initial intention that contemporary people are increasingly losing.
Our cherishing and admiring of The Secret Place and Culture of Tibet is precisely the ardent pursuit and beautiful vision of long-lost passion and faith.
While imagining others continue to shape the image of the highland holy land, our self-awareness and renewal are also improving.
Let us listen to the legend of the Buddha with awe, and watch with great enthusiasm for the obsession with faith.
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