Some time ago, I watched a feature film by Du Fu, and I really understood why he could be called a "poet saint" and why his poems could become "poetry history"?
Because of his realism.
In addition to the height of literature itself, realist literature carries the ideological and humanistic nature that has influenced countless latecomers.
The same goes for movies.
There are some directors who are more willing to focus the lens on reality, on the low-level characters, and are happy to make films exclusive to ordinary people.
<h1 class="pgc-h-arrow-right" >10, Spike Lee</h1>
To understand race in America, Spike Lee's movies must be watched.
Spike Lee's films don't exude a strong smell of chicken soup like Green Book, and his films can be described as dirty and messy.
Don't get me wrong, dirty mess refers to the environment in the movie, not the quality of the movie.
Spike Lee never shyed away from the ugliness and evil of black people.
As a black director, he is well aware of the personality, education, and circumstances of black people.
So in his movies, black people are brash, idle, and troublesome.
Some people have worsened their attitude towards black people after watching his films, but everything should not only look at the surface.
Spike Lee's films seem to reflect American racism, but in fact, in a deeper sense, the films are about class antagonisms in the United States.
I compare blacks in the United States to rural Chinese.
This is a phenomenon, so what is the reason behind this phenomenon?
What does "poor mountains and bad waters" represent? It is a poor material basis.
When the material foundation is not yet guaranteed, how can we "know etiquette"?
Therefore, we should talk about "why poor mountains and evil waters come out of the people", rather than blindly emphasizing that "poor mountains and bad waters out of the people".
< h1 class = "pgc-h-arrow-right" >9, the Dane brothers</h1>
The Dané brothers are well-known brothers and directors in the film industry, namely Jean-Pierre Dané and Luc Dané.
The Dane brothers have won the Palme d'Or twice, once for Rosetta in 1999 and once for Children in 2005.
Unlike many realist directors who focus on social issues, the Dane brothers certainly focus on the low-level characters, but they can always focus on the human heart in the end.
We can compare them to Ken Lodge, who also won the Palme d'Or twice.
The Dane brothers are very close to Ken Lodge in their filming methods, such as camera follow-up and almost documentary-style photography, but the themes of the film are very different.
Ken Lodge is a typical leftist director, and his attitude towards those in power is indictive and sympathetic to the people at the bottom.
The two brothers weren't as radical as Ken Lodge.
They pay more attention to exploring the hearts of the characters.
Maybe he used to be a "bad guy" but grew up in later experiences and eventually became a "good guy".
Or, there is a fierce conflict at the beginning and in the middle of the movie, but by the end of the movie, this conflict has changed from a hundred steels to a soft finger.
Because of this, their films rarely end in tragedy.
This is true of both "The Child," which once won the Palme d'Or, or the most recent "Young Ahmed."
<h1 class="pgc-h-arrow-right" >8, Zhang Yimou</h1>
Zhang Yimou's new work "One Second" is being screened.
Before the release of the film, there was probably a prediction for the movie, "the upper limit of "Hawthorn Tree", and sure enough, I guessed correctly.
As a film with historical documentary significance, it does not reflect social reality and does not portray the characters deeply, which cannot be said to be a failure.
But then again, this responsibility can not all be attributed to Zhang Yimou, and it is really impossible to see the glory of the Guoshi in the 80s and 90s, in fact, not only him, all of us can not go back to that era (after all, time will not flow back).
Zhang Yimou of that era was indeed the backbone of Chinese cinema.
Zhang Yimou is a native of Chinese, he has no background in the west, he made Chinese stories, saying that he is the film director who knows the Chinese countryside best, it is not an exaggeration at all.
Among Zhang Yimou's films, my favorites are "Ju Dou", "The Big Red Lantern Hangs High" and "Qiu Ju Fights a Lawsuit".
All three films, without exception, are masterpieces of realism.
All three films are indicted, accusing feudal etiquette, accusing traditional families, and accusing modern officialdom.
For me, the most impressive of these three films is probably the "blocking coffin" in "Ju Dou".
After Yang Jinshan's death, Ju Dou and Tianqing wanted to "block the coffin" for him, and they had to block forty-nine times, not to mention that they were waiting for this person to die day and night, even if they were really filial piety and grandson, blocking forty-nine times was too much! Completely tearing apart the mask of feudal tradition hypocrisy!
To this day, this practical significance still has a sobering effect on people.
<h1 class="pgc-h-arrow-right" >7, Yang Dechang</h1>
There are two famous directors in the history of Taiwanese cinema, one is Hou Xiaoxian and the other is Yang Dechang.
Hou Xiaoxian likes to photograph the past, and Yang Dechang is keen to photograph the present.
To understand Taiwan in the 1980s and 1990s, you don't have to experience it yourself (and you can't), you can go and see Yang Dechang's movies.
I have always felt that Taipei at that time was very similar to today's Beijing, Shanghai and Guangzhou, with rapid economic development, but what about people?
Profit is paramount, even between father and son.
If you don't believe me, you can go to "The Age of Independence", which has a "medical quarrel", which is simply today's prophecy.
As the most representative work of Yang Dechang, the oriental philosophy of life in "Yiyi" still has warning significance for us at present.
The four "good buddies" in "Mahjong" live together, eat together, and even their girlfriends can share together, but they fly separately when the disaster comes.
I compare Yang Dechang's film to a scalpel, the knife sees blood, he treats society as a patient, he is a doctor, and a doctor is a doctor.
If you want to understand Taiwan's past, Hou Xiaoxian's movies have to be watched, and if you want to understand Taiwan's present and future, I recommend you to see Yang Dechang.
At this year's Golden Horse Awards, a group of "disciples and disciples" presented the award to Hou Xiaoxian, of course, this is what Hou Dao deserves.
But there is also a master in heaven who is on a par with Hou Dao, and we must not forget it.
<h1 class="pgc-h-arrow-right" >6, Ken Lodge</h1>
Like the Dane brothers, Ken Lodge is a member of the Palme d'Or.
How much do I love Ken Lodge? I once wrote an article specifically for him.
Who is Ken Lodge? A director who makes films only for the poor, a leftist director.
The protagonists of his films are basically single mothers, unsupervised children, alcoholic laid-off workers, gangsters, immigrants, etc., and the object of his accusation is the "ruthless" capitalist government.
Because Ken Lodge always showed the dark side of Britain to the international community, he was no less attacked by Britain's conservative forces.
Of course, he was not to be outdone, and when an interview asked him what he thought of the British government, he casually said: bastards (a bunch of bastards).
In 2014, Ken Lodge, who was nearly seventy years old, announced his retirement, but shortly after he announced his retirement, the British Conservative Party came to power, restricting trade union rights and ignoring the voices of the people at the bottom.
So Ken Lodge made a comeback, and "I Am Black" came into being, followed by "Sorry, We Missed You."
Some time ago, I re-watched "Sorry, We Missed You" in the archive.
The second time I looked at it, I still sighed despair and still burst into tears, but after sighing and crying, we should think more.
What is the cause of the injustice of this world? What should we do?
This is not only a question to think about when watching Ken Lodge films, but also the inspiration that all realistic films bring to us.
< h1 class="pgc-h-arrow-right" >5, Shohei Imamura</h1>
Another Cannes Palme d'Or winner, Japanese film master Masahira Imamura!
When it comes to Imamura Shohei films, everyone may first think of eroticism, and indeed his films are very large.
In addition to eroticism, of course there are others.
Masahira Imamura's analysis of human nature is a leader in the film industry, and he portrays a complex murderer in the crime genre work "Revenge on Me", while the protagonist of "Eel" is a middle-aged man who is frustrated in his feelings.
His films also reflect society.
There are "Pigs and Warships", which shows the urban style of Japan after World War II, and "The Kao of The Mountain Festival", which depicts the backward customs of rural Japan, the former represents modernity and the latter represents tradition.
When tradition and modernity meet, that's the plot of "The Desire of the Gods."
The tragedy of the individual human being stems from the polarization of human nature, and the tragedy of the human group is due to the fierce collision of tradition and modernity.
This is my summary of Imamura's shohei films.
One small point worth mentioning is that Masahira Imamura was once Ozu Yasujiro's director's assistant, but he himself was not very interested in Ozu Yasujiro's films.
During his tenure as assistant director of Yasujiro Ozu, he had made it clear that he could not stand Master Ozu's immovable style.
Instead, he idolized another master, Akira Kurosawa.
Masahira Imamura's unsettled personality determines his film style.
<h1 class= "pgc-h-arrow-right" >4, Vittorio de Sica</h1>
To understand Vittorio de Sica, you must first know what Italian neorealism is.
Italian Neorealism is a film movement that emerged in Italy after the Second World War, which is characterized by caring for the struggle of human beings against inhuman social forces, shooting on location with non-professional actors, and expressed from beginning to end with sharp realism.
And the representative of this is Vittorio de Sica.
After the end of World War II, the background of victory was the tatters and embarrassing peoples of all of Europe.
Italian neorealism was thus born.
In terms of form, most of the new realist films use real-life shooting and natural light, using non-professional actors to perform and pay attention to the details of natural life, compared with the pre-war closure and camouflage, new realist films are more like documentaries, with an unpainted sense of reality.
This technical approach has influenced countless filmmakers who have come after it.
Vittorio de Sica's most famous film is The Bike Thief.
A small person at the bottom, a migrant worker who crawls in the mud for his life, a father who wants to make a good life for his family and children.
The ending of the film is full of praise, seemingly a non-tragic ending, but it does not reduce the tragic color of the film by half a point, but makes the audience more desperate. This is the most realistic way to express it.
<h1 class="pgc-h-arrow-right" >3, Cai Chusheng</h1>
After 1930, the Chinese Left-Wing Writers' Union and the Chinese Left-Wing Dramatists' Union were established successively.
With the outbreak of 9/18, the people's national sentiment soared, and left-wing films gradually replaced the Mandarin Duck Butterfly School as the mainstream of Chinese films.
At the same time, a large number of realist film directors were born, and Cai Chusheng was one of the representatives.
When it comes to Cai Chusheng, the children's shoes that do not doze off in history class must be no stranger.
Yes, he was a figure who was written into the history books.
He directed China's first internationally award-winning film, Fisherman's Light Song.
At the same time, he has also directed "New Women" starring Zhang Ailing, and co-directed many excellent films such as the epic masterpiece "A River of Spring Water Flows Eastward" with Zheng Junli.
They are all immortal classics in the history of Chinese cinema.
Cai Chusheng understands Chinese very well, and he has a famous "squatting" theory -
There are many good directors in the Republic of China period, Such as Cai Chusheng, Fei Mu, Wu Yonggang, Zheng Junli, etc., whether it is humanistic feelings or technical techniques, are not inferior to Japanese directors in the same period.
Unfortunately, in the 1950s, Japanese directors went abroad to win awards in Europe;
And most of our directors died tragically in the midst of infighting.
<h1 class="pgc-h-arrow-right" >2, Kenji Mizoguchi</h1>
In the Japanese film industry at the same time as Cai Chusheng, there were also masters, Akira Kurosawa, Yasujiro Ozu and Kenji Mizoguchi.
Compared with the Western expressions of Ozu's petty bourgeoisie and Akira Kurosawa, Kenji Mizoguchi can be said to be a pure representative of Japan.
And his films are all models of realism.
The theme of Kenji Mizoguchi is anti-feudalism, which is related to the era in which they lived, which coincided with the transition period from traditional society to modern society.
Kenji Mizoguchi is good at making tragedies because his films emphasize the oppression of human nature in different systems and different eras.
Death is more enlightening, so he must end up dead.
At the end of "The Tale of Kinmatsu", the master mother and the male servant are both martyred, and Kenji Mizoguchi uses poignant love to attack the oppression and injustice of women in feudal society;
The heroine of "Lady Musashino" committed suicide by taking poison in order to escape the world. Shortly after her suicide, Japan abolished the crime of "adultery."
Also shooting women, Mizoguchi and Ozu Yasujiro and Naruse Mizuki have their own strengths.
Ozu's family, Naruse's emotional entanglement, and Mizoguchi is about the big time.
Both Kenji Mizoguchi's realism and the "one shot at a time" he pioneered in photography have been emulated by later generations.
The French director Godard, who is also a master, especially admired Kenji Mizoguchi, saying: "The art of Kenji Mizoguchi is to make things appear as they are, and this 'simplicity' is the most complex part of his films." ”
<h1 class= "pgc-h-arrow-right" >1, Charlie Chaplin</h1>
The first realist master in the film industry was probably Chaplin!
Many people know that Chaplin is a master of comedy, but in fact he is also a master of realistic films.
There is a saying circulating on the Internet: the core of comedy is tragedy.
The provenance of this sentence is nowhere to be verified, but I think the inventor of this sentence must have been Chaplin's fans.
Because his comedy films can all be summed up in this sentence.
Chaplin's first film was 1914's Making a Living, and from his second film, Between showers, his image of "wearing slouchy pants, large shoes, a taut top, and a bowler hat" was established.
With this image, he directed and starred in "The Tramp", "Modern Times", "City Lights", "Circus" and so on.
This is not only the image of Chaplin, but also the greatest image in the world of comedy films, and at the same time one of the representative images of realist films.
Watching Modern Times, we think of 996;
Watching "Finding the Son meets the Immortals", we will think of "The Little Girl Who Sold Matches";
Look at Chaplin and we think of ourselves.
We laugh at this ridiculous world, and we are sad about our own lives.
To this day, 100 years later, Chaplin's films are still not outdated.
In addition to the ten masters above, Korean realist films also often trigger discussions among netizen audiences.
But there is another voice, they joke about Korean movies, "Anything can be filmed, anything dares to shoot, but nothing can change!" ”
That's absolutely true.
Mr. Lu Xun has a dialogue with Qian Xuantong in "Scream and Self-Introduction".
"Suppose an iron house, which has no windows and is difficult to destroy, has many sleeping people in it, and soon they will suffocate, but they will go from sleep to death, and they will not feel the sorrow of death. Now that you are shouting and startling up a few of the more sober people, and causing this unfortunate minority to suffer from an irredeemable dying, do you think you are worthy of them?"
Qian Xuantong replied, "However, since a few people have risen up, you cannot say that there is absolutely no hope of destroying this iron house." ”
That's probably what realist movies do!