All the acting skills are online, but the box office is less than a fraction of the blockbuster, what happened to the new film produced by Guan Hu?

The movie "Street Baby" officially landed in theaters.

It once attracted attention because of a kind of attention unit at the Cannes Film Festival, but the Douban score of 6.4 can hardly be described as "high reputation".

There is also not enough advantage in arranging films.

The box office on the second day of its release was 110,000, far less than a fraction of the blockbuster next door, and the commercial performance was "miserable" in capital letters.

From the root, "Street Baby" will not be a particularly high-grossing blockbuster type, but in the excitement of various audiovisual blockbusters and superheroes, movies such as "Street Baby" are another expression.

The lively popcorn fast food and the hearty and simple "superhero dream" are just needed by the film industry to sell pleasure;

On the other hand, looking at the deeper, more sad and more street life itself is another rigid need of film and life.

Come, let's say it from the beginning.

First, "street" gas

"Street Baby" has a kind of damp and dark city smoke, three points of turbidity of hard life, three points of sighing about right and wrong, and three points of desperate and long expectations.

All the actors contributed excellent performances.

Li Jiuxiao is not the same as the texture in previous film and television dramas.

In "Eight Hundred", he is dashing away with a knife, babbling blood and long bridges, and there are also rivers and mountains in the grass and national thoughts, and there is fierceness and wind bones in the dashing of Luo Tuo.

In "Send Me to Qingyun", he is a little oily and a little true, which is a very appropriate portrayal of a certain type of person and a certain relationship;

The characters are not likable, but the performance is typical.

In "Who is the Murderer", he is a well-behaved and ignorant young man beside Wang Qianyuan;

Although there are not many scenes, it has a very "what is acting" posture.

Unlike "The Eleventh Series", "Antiques Bureau Middle Bureau Treasure Loot List" and other works, this time Dongzi in "Street Baby" has a very young "clear stupidity" (although this word is used by marketing numbers to the extent that it is difficult to say a word).

Young, constantly falling;

There is absurd short-sightedness, trapped and pitiful;

At the same time, there is the bloodiness and unwillingness to rush out of the sky, and the bondage and unbearability to enter the dust.

In the film, Yao Yu plays Dongzi's father, an old bastard with a full voice.

Once rampant in the streets and alleys, now he is dying of old age and still drinking alcohol.

Domestic violence wife, short-term rental of house to cheating on the person charged on time.

All concern for my son is embodied in "Do you know whose woman she (Jiu'er) is" and a more unbearable sentence than "Did you sleep".

A muddy and complex, disgusting and three-dimensional old bastard.

Dongzi dreams of helping her father scrape together medical expenses.

He had no possessions to earn quick money, so he had to follow the Greek army as a debt.

Xi Jun (played by Yu Ailei) was an oily and poisonous gangster-type character when he first launched.

Yu Ailei, he has played so many ruthless roles, every time I see his face, I will silently be afraid for a few seconds.

Yu Ailei in "Street Baby" quietly pretends to be warm and wears a fierce cloak on the line.

And behind the fierce skin, there is a sad and complex and gentle and bitter texture.

Although there is a case record, although he is now doing debt collection work to repay the boss's money, the main thing is a sentimental and righteous.

Teach brothers (this word is also interesting in the industry of fighting debt)

Although he owes a lot to his girlfriend, he always pays attention to a "hope you are good".

It is also very righteous to the neighbors of the past.

Sha Baoliang has transformed into an actor over the years, and his performances are very good.

In "Street Baby", he is almost a nightmare-like existence, haunted by evil spirits.

Also hiding "ruthless" under the quiet appearance, Yu Ailei's character initially disguises the relaxation of the skin and flesh without laughing, and gradually shows the true warmth and righteousness under the oil gas and poisonous gas;

Sha Baoliang's character is disguised as Sven's calmness, ruthless and depressing.

Jiu'er, played by Huang Miyi, is also very recognizable.

A shot of Dongzi snuggling in Jiu'er's arms, there is a kind of sadness of relying on each other for their lives, two people who have nothing, always facing the pressure of the fourth brother;

There is also an indescribable warmth.

The two of them took the small broken ferry in the gushing river, trying to leave away, and after a few hesitations, they turned into "So what am I doing this trip" and "It should be sent to me".

I can't resist the desolation of fate, and there is a little romance in the misery of the continuous fall.

That kind of romance is not a Korean drama filter idol drama-style romance, but a breath of heat and a little obsession hidden under the rough and sad base color.

All the acting skills are online, and the material sense of the characters is online.

Although some scenes seem to have unsmoothness caused by deletions, and some turns are too dramatic and deliberate, a complex texture of sorrow and sadness, long and indignant is depicted with a few people, which is quite moving.

Second, simple and rough quacks

The jianghu qi described here is not the jianghu qi of martial arts masters who are freshly dressed and angry horses, happy to take revenge, and go to the end of the world with swords, but the jianghu qi of the struggle to survive at the bottom and survive.

There is no sword and shadow coming and going like the wind, but there are complex feelings of entanglement of grace and righteousness, ambiguity between right and wrong, and dilemmas.

It is another kind of quack gas that is more landed, wetter, and more street-walking.

For example, the story of the Greek army and Toko.

Traditional concepts such as filial piety and kindness and righteousness, in the rough and falling context of "Street Baby", under the framework of the nature of work and background factors that are inherently imperfect, have a clumsy and deformed strange sincerity.

Before there was a break between Dongzi's father and son, Dongzi held the snatched ashes, kowtowed and defeated and said goodbye "My half life was given by my mother" and "I will return it to you today";

Later, Xijun and Humoupi, Hukou seized money and were exposed, and after being cleaned up by the fourth brother, they broke up for fear of harming their girlfriend, and were replied by his girlfriend: "If you don't mix well, you have to break up?" The question is, when did you mix well? ”

Very quack-and-daughter.

Xi Jun's ex-girlfriend with few lines and a few frames on her face is vivid, desolate and warm.

As soon as Xijun called, she immediately cared about "how much better (how much money do you need) this time."

See through: do you have to mix well? The problem is that you've never mixed up either.

Seven points of righteousness, three points of negative anger.

Opening a small dilapidated clothing store, sacks of cheap clothes were brought back from thousands of miles, and the shop faces were splashed with paint.

In the whole environment, there is a sense of oppression and dust that is gray and dirty, and I can't understand it.

But she inexplicably makes people feel hot, like a river rushing water, a pot of hot burning knives.

Vigorous and clear, ordinary but inexplicable and inexplicable echoes.

(Of course, she doesn't know what the Greek army did after she was retaliated against, that's another matter)

This kind of unbridled determination is also strong in Dongzi, Jiu'er, and Xijun, but they are all tempered by other complex characteristics.

A scene in Dongzi's fantasy of kidnapping the daughter of a person who owes money, there is the upside-down desolation of the end of the road, there is the tragedy of not being able to get a bite of hot food without risking his life, and inexplicably some kidnappers and kidnapped little girls cherish each other and get along happily.

(Of course, because this paragraph is suspected to be Toko's fantasy)

Doing something that is difficult to say, stepping on the mud that falls forever, but there is a simple and bright obsession in the heart.

Jiu'er, across the street, is the closest to warmth in his turbid life.

Xijun and Dongzi, who began with the warm brotherhood of helping them, finally became the lamentations of the perpetrators of car accidents and the suffering masters;

Although the unexpected ending is deliberate, the picture of saying goodbye at the pier and kneeling and kowtowing to make amends continues the complex feelings of being older, simpler and more indescribable.

Knowing each other in the quagmire city, forgetting each other in the vast rivers and lakes.

Third, the atmosphere with both realism and freehand

Several shots in the movie are impressive.

For example, bugs and snails that appear several times.

Life is difficult, situation is inaction.

Idle writing is not idle.

For example, the stiff and twisted father-son relationship between Toko and Daddy.

The love of the old man must be embodied by unbearable beatings and scolding.

The gap between the towers in the majestic mountain city, and the steps and railings up and down, form a tortuous, abstract and allegorical composition.

Another example is billowing white smoke, and at the first moment I thought I was shooting clouds.

The empty space of the white cloud dog years.

After zooming out, the camera realized that this was not a cloud but a large chimney burning corpses.

The so-called dynamic picture of cloud rolling Yunshu is actually a change of life and death, yin and yang.

The farther, more lyrical and generalized "cloud" is also more impactful after it becomes a more direct and cruel "crematorium smoke".

(I didn't find this picture in the trailer, put a picture of the old man burning the playing card king for the other party after the death of his card friend, this picture is also very impressive)

Another example is the passerby aunt who takes shelter under the porch of a tattoo parlor on a rainy day in the film.

Suddenly flashed in, and flashed out quickly.

Through the glass door, Jiu'er and Dongzi in the door each stood on one side;

The aunt outside the door hurried away, and at one point stood on the golden ratio point of another composition.

Coming and going, floating like lightning and thunder.

Gone in an instant.

In the last shot at the end of the film, Dongzi lying in a trance misunderstands that he is in the boat.

The fog is thick, the smoke is small, and the flat boat is small.

In the forced hull, there is not even room for a person to lie horizontally.

The perspective changed again, and it was found that the so-called hull of the ship was virtual, and the small altar of plantain in front of the tattoo parlor was also virtual.

The objects themselves, which have been abstracted but still retain their actual references, seem to have been blurred;

Only confusion and confusion do not crack and cut the emotions that are constantly cut, full and ambiguous, vague and tearing, solidified and flowing.

A flat boat can not carry many worries.