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Planning | Qi Tian Dasheng (Nanjing)
Review | Youyou (Beijing)
Coordinate | Yu Chunjiao (Shanghai)
Edit the | Slight (Beijing)
When I stood in the bustling crowd and watched the classmates around me giggling and gathering together, ready to step onto the stage of the graduation ceremony in the distance, at that moment, I really felt that graduation was over, that we were really going to graduate. Colorful academic ribbons are interlaced with each other, corresponding to the brilliant fireworks on the ceremony stage, and every youthful cheek in the colorful brilliance is so innocent and messy. At that moment, I suddenly had a momentary trance in the bright light and shadow: four years passed suddenly, and after the ceremony, there was no trace. Where do we go to relive these moments of growth as we reminisce? Perhaps only condensed images can make us full of courage and romantic feelings of retracing our youth, which also constitute a vivid way for us to look at ourselves and reflect on our souls while carving time.
Thanks to those soaring images of youth, the youth presented by every sincere director with pure/harsh mirror language adds poetic meaning to our tired life, and becomes a dream place where we rebel from the anxiety of social reality. In the current noisy and flashy film market, "youth" has undoubtedly become a lively and complicated common space, a complex cultural reality wrapped in endless optimistic discourse and dreamy feelings: more and more youth images are trapped in the self-binding vortex of "small times" and finally lose the innocence of youth, and youth has gradually become a poisonous mushroom that resides in reality, with neurotic hallucinogenic pleasure and paralyzing effect, so the retelling of youth has become the most distorted film market at present." Magicism" exists. Lost in such a powerful era of youth retelling, "youth" becomes an absurd absence, "youth" unexpectedly lands on the anxiety of the lost group and tears the era apart in a self-obscuring way, when "youth" exists in a way that negates youth, the "poetry and far away" praised by the Wenqing ethnic group can only be reduced to the new clothes of the king who is exquisitely self-interested in whitewashing the age.
Therefore, in such a "small era" where the voices of the city are suddenly lined up, we deeply focus on DeepFocus and cherish those sincere and abundant youth images, which are different from the blood and mourning of today's "youth", these classic images reject mourning and flattery, reject a kind of indiscriminate attitude of looking back, they are like a leaf of optimism, lightly passing through the pale sadness of many "youth deaths" and "love degeneration", and persistently achieving a dynamic picture of a "beautiful new world": whether it is "Love Letters" In the name of love, the fables and self-discovery of the spiritual growth of modern people are appealed to, or the reconstruction of the youth subject in "Hearing that Kirishima is Going to Retreat", or the youth defection ceremony of the beat generation against the fenced world in "The Graduate"... These vivid images all show the romance and publicity of being born as human beings, and they reconstruct the memories of our youth while clearly declaring the arrival of a new era of freedom spirit and individual liberation, just as we were shocked again at the moment of our birth.
In this graduation season at the beginning of July, let us start from youth and relive the moment of growth. I wish all graduates a happy future, and may we all become ageless young people in the light and shadow of youth. (by Qi Tian Dasheng |.) Nanjing)
Seongnam (1983)
A generation of sincere youth growth history. Young Yingzi struggled to accept every separation of growth in the stumbling revolutionary tide, the sudden disappearance of things and people and the silent collapse of family ethics taught a girl about the assumption of responsibility and courage, when Xiao Yingzi looked back with tears on the colorful path, the long melody of "Farewell" sounded soothingly, Xiao Yingzi waved goodbye not only a childhood memory mixed with deep pain and death, but also a youth mourning song that gradually disappeared before the arrival of the red hurricane.
Born in the social throes of the 1980s, "The Old Things in Seongnam", a childhood memory slowly presented in a new aesthetic poetic documentary tone, unexpectedly mirrors the political fables that fall between the cracks of the times, and outlines the youth sacrifice ceremony of "big times and small stories" from a girl's innocent vision: In the discourse of the new era in which the shadow of the Cultural Revolution is gradually fading, "scar literature" immerses all of China in a sea of blood, rain and tears, and almost immediately transforms from youth scars into political reflection. "Old Things in Seongnam" breaks through the great wave of realism in the midst of a wave of realism with a childhood homeland memory, and completes the sincere salvation of "people" and "emotions" in the 1980 era spectrum, and also washes away his youth memories in the blood stains of the Cultural Revolution. When Xiao Yingzi cried and lay by the bedside of her dying father, and her father passed away with a smile, Xiao Yingzi had completed the growth of her own youth, and the death of her father, as a symbol of order, echoed the reconstruction of cultural patriarchy in the new era, Xiao Yingzi replaced the role of her father, and finally took on the heavy responsibility of the family, and death announced the birth and growth of youth. When our eyes disappear at the end of the fall with the shadow of Hideko's departure, each generation of us finally learns to mature and take responsibility while trying to cross the barriers of history in the film. (by Qi Tian Dasheng |.) Nanjing)
That's How We All Grew Up (1986)
To be precise, 1986's "We All Grew Up This Way" isn't about graduation, it's about "graduating." Too many films are accustomed to using "graduation" as the dramatic climax or happy ending of the coming-of-age ceremony, and the English name translated as "reunion" is more like treating graduation as a fresh and tedious beginning and a long process that never ends. Shi Chengzu, Liao Weiming, Shen Qianhui, Jiang Beibei, Zhang Fuming, Liang Bangqiang, Fang Shaobing... A group of elementary school classmates, each familiar enough to substitute anyone's memory. Each reunion they reunite after graduating from elementary school cuts the film into relatively independent and coherent narrative passages, and the passing years become one of the most important protagonists of the film, silent and invisible but everywhere. Scene scheduling is often the "old classmate" nature is difficult to move and quietly transformed clues, linear narrative plus interspersed flashbacks or plot "turning over old accounts", life encounters always take each classmate meeting as the node to complete the contrast between the present and the past - these seem to be fans are familiar with the rotten skills, but also the immortal logic in the genre of youth film crime film romance film biopic: between the not easy grown-up and the Freudian childhood youth trace, the years are the biggest killer. But the biggest difference between this film is that the two tenses of the past and the present are not the dualistic opposites that many films are willing to acquiesce to (the present is always bitter, the past is always beautiful), but a more complex dialectical relationship of attachment and intermingling.
As one of the earliest planners and standard-bearers of Taiwan's new film movement, Ke Yizheng's "Jumping Frog" and "Child with a Sword" are easily overlooked after "The Story of Time", which not only adds a crucial stroke to his personal sequence of growing themes, but also a new film aesthetic model that broke through the shackles in the 1980s. The time and space conversion completed by the characters running from the depth of field, the concise and meaningful empty shots, the metaphorical conflicts above and below the rehearsal stage, the stylized photography and exquisite composition (especially the old students returning to the alma mater teaching building that is already in the "ruins" of construction, sitting on the eagle frame dollhouse-style composition of a scene), maximizing the presentation of the urban landscape and the spatial scheduling of social issues, may become the reason why "We All Grew Up This Way" should not be forgotten. This film has become a "grandfather" that is difficult to replace even if it is later mass-produced in Taiwanese youth films, in fact, there are more indescribable growing aesthetic legacies that continue to this day. In addition to Ke Yizheng, Hou Xiaoxian, Yang Dechang, Chen Kunhou, Tao Dechen, Zhu Tiantian and other collective obsessions with youth make Taiwan's new film movement itself a "story of time", that is, multiple fables about "growth": the film, the younger generation, is also the new Taiwan. More importantly, Ke Yizheng announced through the "Classmate Association": Graduation is the beginning of a never-ending - to give an example that may not be appropriate, for example, do you think that the stunning ending of "Kissing the Groom" in "Those Years, the Girl We Chased Together" in the red Asia is completely original? Why do you think Richard Linklater's "Boyhood" was translated as "That's how we all grew up" in Hong Kong?
(by Chai Ruth |.) Seattle)
Shuozi by the River (2013)
Shuozi graduated from high school. Shuozi failed the college entrance examination. Shuozi and her aunt went to the seaside town to spend the summer. Shuozi experiences a seemingly innocent relationship. Shuozi silently watched the lives of others from the side.
"Shuozi by the River" seems to have a slow pace and a light plot, but it is not a Japanese novel in the ordinary sense. The summer of graduation was full of idleness and idleness wrapped around the dark tides of relationships and socio-political edges — the emotional entanglement of an aunt and two men; a good-looking uncle running a seemingly normal love hotel with a young girl and a politician who bought sex; a refugee boy from Fukushima who hesitated to go to an anti-nuclear demonstration, and his true words in his anti-nuclear speech did not seem to be as expected.
The "ほとり" in the title can refer to "riverside", and also has the general meaning of "edge". When I was young, I didn't know how big the world was, and I often regarded one thing as a decision to determine my destiny, and Shuozi, who failed the college entrance examination, also fell into such a loss, and seemed to have reached a watershed in life, looking at the adult world at the edge of the adolescent world. Another "edge" seems to be that Shuozi and her aunt left the old land for a vacation and fled the center of their former life, Tokyo, and the sense of stagnation and withdrawal caused by the bright summer daylight in the film also gives people the impression of being on the edge.
Koji Fukada just brought a film "Standing on the Edge" to Cannes this year, and its pendulum-like 180-degree reversal plot is more like a deliberate experiment by a director who loves the naturalism of life flow, as if to find the daily details in the most extreme conflicts. And "Shuozi by the River" is relatively more harmonious and self-consistent, more like looking at the world through the fog of adolescence, all the contradictions and complexities are looming, as if they don't care about themselves, but the feeling that the world on the other side is about to be overwhelmed is also there from time to time, making people want to escape. The night Shuoko and Takashi ran away from home, they walked on the railroad tracks, saying that their "far side" was first Hokkaido, Okinawa, China, then Russia, the United States, Norway, Sweden, and finally Africa, New Guinea, and Machu Picchu. Shuozi said, "We can think of and say it far away, which is completely different from the distance that aunties and they travel around the world." ”
In any case, no matter how you see the hypocrisy and coldness of this world, after all, you still have secret expectations and yearning for the vast world of adults. (by Jumacha |.) Paris)
I Fell Behind, But... (1932)
Ozu is a director who pays attention to different issues as he ages, which is related to his own age and the environment he is exposed to. In the early years of his directing career, the subject matter was often young people, especially those who tried to climb up from the bottom; it was just that these young people were often not too pessimistic. Coinciding with the Great Depression of the global economy, there happens to be a double work about graduation in the title of Ozu's work: "I Graduated, But..." in 1929, and "I Fell Behind, But...", the following year.
Although there are only 11 minutes left in the fragment "I graduated, but..." Although there is only 11 minutes left, after the reprocessed word cards and the speculation that some of the remaining pictures have been screened out, it is still possible to piece together a story: Nomoto, who graduated from college, went to apply for the conscription with high spirits, but the boss said that there was no shortage of people, asked him if he would work as a part-time receptionist, he thought he was insulted and refused to work; but at the same time, in a letter to his fiancée Machiko, he said that he had found a job, and his mother happily took Machiko to congratulate him. It was not until Nomoto married Machiko that his mother returned home, and Nomoto confessed to Machiko that he had not found a job. In order to maintain her expenses, Machiko first found a job, but when Nomoto and his friends went to a tavern, they found Machiko working as a waiter there to please the guests. After returning home, he was angry and ashamed, and finally returned to the original company to apply again, and the boss said that it was actually to frustrate his sharpness and deceive him to be a part-time receptionist. Finally, of course, is a comedic ending.
This story, which is not a "parable", is probably also a common phenomenon in society at that time: high intellectuals can't find jobs and are unwilling to bow their knees, and this situation of not being high or low also makes the unemployment problem more serious. However, Ozu, with an optimistic personality, still tries to describe it in a relaxed tone when dealing with such a subject. This is more obvious in his next year's "I Fell Behind, But..."
The story describes that when Takahashi struggled to make a small copy (copied on his shirt) when his roommate was trying to prepare for the exam the next day, the landlady took his clothes and washed them, so he handed over the white paper, and he fell behind: the roommate successfully graduated, and he could not find his name on the long graduation list. But Saion lost his way, his roommates were looking for jobs, and Takahashi was working as a cheerleader in the school, very comfortable, envious of the roommates, when they could not find a job and continued to live in the dormitory next to the school, they heard a thunderous cheer, and they were eager to be in school.
Of course, such a story has a big problem in "logic": which problem that is not easy to find a job may be solved in a year or two, and how can Takahashi's calculation make people happy? If repeating grades and delaying the time of leaving society can solve the troubles of new people in society, then won't schools become shelters? However, this is also not a fable story, it should reflect the same problem from another angle, but Ozu spends a lot of time explaining the interaction between Takahashi and his roommate, such as through the window paper and lights, using the body plus small props to make silhouettes, and ordering food gimmicks to the opposite store, first, to show that their feelings are better (later, even when everyone can't find a job, Takahashi left some change for everyone to buy bread), and second, it also reflects the usual playfulness of everyone. Using these as a basis can make the later "envy" reasonable, which is why the entire film spends two-thirds of the time dealing with Takahashi's fall. However, the short length after this "but..." seems to hint at the brevity of a leisurely life.
It is just that nearly a century later, with the explosion of population, it seems that the phrase "graduation is unemployment" is still a harsh iron law, the difference is, how many people can face graduation with this kind of mood? (by Fat Inner |.) Taipei )
If, 1968
The film tells the story of several British public school students bombing schools.
Public school is also a private boarding school in the United Kingdom, and going to public school first and then entering Oxford can be described as the traditional route of the elite. More than 80 percent of governments have a public school background, suggesting that most of a country's leaders are produced from the same value system. The film blew up the public schools and was an attack on Britain's overall antiquated system. It was heavily received as soon as it was released in 1968, and it was heavily criticized in the United Kingdom, but won the Palme d'Or at the Cannes Film Festival.
"If" is a true restoration of the details of the public school, showing the corporal punishment system, the oppression of the new students by the seniors, and the restoration of the "jargon" in the public school: the new students are called "scum", the common room is the "sweat room", and the prefects are "whips". In the oppressive and distorted atmosphere, the teachers and students are a group of hooligans wearing suits and bow ties.
The style of the film can be described as a satirical comedy that oscillates between reality and fantasy: photography switches between black and white and color; African primitive music gives the film a sense of ceremony; the housewife wanders naked in the empty dormitory; the principal opens the drawer, and inside is the school priest who has been shot and killed... In this absurd and real world, the protagonist Mick (Malcolm McDowell) says ," I wonder when we live? That's what I want to know)," and then raised the gun.
Anderson asserted in 1968 that any form of radical movement would eventually be assimilated by the social system. Thirty years later, Eton College (the british public school representative slammed by the film) staged an annual drama adaptation of "If", which was adapted into a light-hearted school satire play starring a group of glittering teenage elites (most of whom would become britain's head of state). This is a perfect validation of Anderson's prophecy, and if he had been present, he would have laughed and repeated his life creed: "Only three things are real: God, human folly and laughter."
The director's own films received polarized reviews, with negative comments on the left (including the Queen's) and positive reviews on the right. which side will you be on？ （by FANNY | Sterling)
History Boys (2006)
Graduation season is one of the best moments of your life, throbbing, curious, and especially when your vision of the future is Oxford or Cambridge. "History Boys" tells the story of a group of school bullies, quasi-elites, and proud children of heaven, in preparation for the UK's top university entrance exams, three teachers are hired to teach them history, general knowledge and exam skills. The three teachers have different styles and different purposes, and at the same time three values wrestle with the boys, who can choose to learn knowledge as a pure pleasure and spiritual sublimation, or they can choose to become a good player and win the trophy in the arena of the exam. They sit in empty auditoriums, fantasizing about their future selves, tax lawyers, principals, architects, laundromat managers... They learn how to preserve a pure land of their hearts in the playground of worldly skills, to preserve an appreciation of art, a love of literature, a reverence for knowledge, and an attachment to human love.
The film is adapted from the 2004 London West End hit drama of the same name, with large sections of speculative discussion, sharp words, sharp words, and quotations. The boys and teachers in the film, although some of them you can't name, will definitely see their faces in various British and American dramas. The film version makes people more likely to be substituted into the British high school campus, the castle-like teaching building, the foggy sky in the morning light, the green grass that cannot be seen at a glance, the young man in uniform, with the book borrowed from the library under his arm, talking loudly as he walks, his eyes are shining, and his face has a youthful glow.
Graduation season, parting, is just the clarion call for the other end of the journey to begin. (by Li Sixue |.) London)
American Style Painting (1973)
People who are often obsessed with the sense of youth are accustomed to detaching themselves from the shackles of reality, and people in the graduation season are more willing to pin this sense of youth that will be lost on someone or somewhere in reality. George Lucas's "American Style Painting" is a "juvenile" film,
The whole process is filled with warm colors: the orange of the Melgar Car Theater, the bright yellow of the Acho modified car, the pink white of Steve's plaid shirt, these obedient and romantic elements seem to dilute the negative emotions that are coming the next day, and the characters' respective emotional clues wander in a picture of American 60s youth, choosing to burst out unexpectedly when people adapt to this "everyday" rhythm. It also confirms that the beauty of juvenile fantasies is very short-lived.
Graduation is a node, when we were teenagers, we were always crazy obsessed with things that people could not grasp, and even doubted whether this thing really existed in reality. Just like the white thunderbird that Steve searched for the whole time: chasing a car, looking for DJ help, can't see, can't catch, can't forget. But it will eventually appear in your sight after you have chosen your own life path, and no one knows whether to go side by side or in the opposite direction.
Summer is the beginning of a mass nudity of desire, and graduation is the end of unreservedly buried emotions. Tight, not discrete. （by 10 | Guilin)
The Unexpected Lucky Draw (2010)
Director Keiichi Hara has always been a fantasy story, and "Unexpected Lucky Draw" is indeed unique as his only work so far that involves so many social realities of teenagers. His best kung fu is to make a particularly delicate treatment of the story, so even the cheesy plot can appear richer than the same theme film in the hands of Hara Huiyi, and dig out more infectious power from the details we are accustomed to in our lives. The high school students in "Unexpected Lucky Draw" have their own troubles, and Keiichi Hara tries to put all the problems he sees related to the physical and mental health of high school students into the film, and graduation is naturally one of the indispensable contents. The mood of the film has always been very gray, and the ending cannot be considered bright, but the only 20-minute scene facing the college entrance examination is enough to make all the audiences who have walked across the college entrance examination in China have a particularly strong sense of substitution. The child has a nervous breakdown in the face of pressure, his parents once despised him, and an accident made the attitudes of both sides begin to become more humane, so that the long-lost mutual understanding returned to this ordinary family. Graduation is not so much a test for students as it is for their parents to re-examine their relationship with their children. (by small A |.) Beijing)
The Graduate (1967)
The other day I saw a friend who just finished college saying on Facebook that the meaning of graduation is that you still don't know anything as before, but now you have no excuses. This state of being overwhelmed basically defines the entire adolescence: on the one hand, after "growing up", it is given unprecedented freedom, it is guaranteed the right to choose in the world, and it is expected to find its own direction in life; on the other hand, because of the rules of its parents and schools from an early age, it is accustomed to being set goals for itself by others and living under the gaze of others. The result is that teenagers step into the adult world they are waiting for but fall into confusion.
Benjamin, the protagonist of "The Graduate," is trapped in this contradiction. The film begins with him returning home from graduation, but the first conversations he had with his parents show the momentary collapse of his mental state as he returned from extreme freedom in college to a suffocating family life. But although he hates the monotony of depression at home, he doesn't know what he can do if he can escape there, so for most of the film he only passively faces everything: perfunctory friends of his parents, accepting the teasing of older women, and forgetting the choices he is about to face in the ambiguity with Mrs. Robinson. Until he meets Elaine, two people in similar circumstances defect like the end of the road, but in the end they do not know where to flee. It can only be said that adolescence is similar, in his own view is an earth-shattering elopement, and in the end it is inevitable to fall into an embarrassing cliché, and decades after the birth of "The Graduate", generations of young people still repeat the rebellion of Benjamin and Elaine, and finally can only sigh at the movie. (by Vincent Lan | Boston)
"Reading In a Mountain Village" (2002)
The film is called "Être et Avoir" in French. "To exist" and "to own" are the first two words that French children learn. Director Nicolas Feliberge said in an interview that life itself is a story, not a strong conflict and drama. Therefore, he chose to record life in a mountain village primary school in Auvergne, France, through the details of ordinary daily life. A single class of 13 children ranging in age from 4 to 12 was taught math, art, French and other subjects by the same teacher, George. During this semester, there are new young children enrolled, and there are also teenagers who want to start a new life and graduate from here.
"Concise and wonderful." The French "TV Weekly" commented on this. Complemented by a calm and objective record, empty shots full of metaphors become footnotes to the director's conscious expression. The opening transition from cold outdoor to warm indoors sets the emotional tone of the whole film, and the slow crawling turtle also indicates that the audience needs patience and feeling to watch this film.
Nikolai chose 13 children instead of 30 in order to give the audience a better understanding and deeper memory of each child, their manners, preferences, temperament, and obedience and dependence on Mr. George. This conscious arrangement is in perfect harmony with Mr. George's care for each child. Rather than focusing on capturing George's teaching younger children to learn, the film uses george's more mature dialogue with them when filming several children facing graduation. Two of the children, the boy whose father was sick and the girl who had difficulty communicating with people, both cried in front of the hidden camera camera. To be able to express emotions so naturally, children first need to have a strong sense of security. George's sincere love and sincerity and the quiet gentleness of the way of shooting provide a great guarantee for this.
George carefully created a small world belonging to the Children of Auvergne, and Felibert showed the world with emotion and care. People in good age always pass by and leave in a lively way, and people who are silently guarding them complete the viewing time and again with mixed feelings, staring at the camera for a long time after each end, and gently closing the door. (by Yu Chunjiao |.) Shanghai)