Middle-aged male idol.
The problems faced are nothing more than fortune, face failure, declining popularity, and poor acting skills......
But there is one exception.
was born in idol dramas, but did not stay in the image of the past, and finally ushered in the peak of his career after nearly 20 years.
This year, "Removing the Three Evils Around the Week" was released.
Ruan Jingtian became popular with the role of "Guilinzai", and many people regained his charm, handsome and good acting skills.
But on the Golden Horse 60, Ruan Jingtian missed the actor.
Accidental?
And the winner is—
Wu Kangren.
has never appeared in a mainland variety show, and his masterpieces have not entered our TV or screen, so his popularity is naturally much smaller.
can be said that he is the top class of Taiwan entertainment and the ceiling of Mesozoic acting skills, it is estimated that no one will object.
From "A Handful of Green", which has transformed into a drama, to "The Distance Between Us and Evil" in recent years, he has also frequently brushed his face in popular dramas such as "The Cultivation of a Vulgar Girl", "The Beginning of the Lights", and "Rolling Stone Love Story".
And this work in which he won the actor, again, is something we won't see on the big screen-
Fudu youth
Douban 7.0, among the high-scoring candidates, is barely average.
There are bright spots.
First of all, this film is filmed by the team in Malaysia, and it is the first work supervised by Li Xinjie.
Then the movie focuses on a group of people who are called "bottom cows and horses" on the Internet today.
Fudu, the name of a community in Malaysia.
The name is Fudu, and it is full of coolies.
△ Behind the down-and-out Fudu is the gorgeous high-rise buildings of Kuala Lumpur
plus the word "youth" in the title -
A sluggish environment and a young and vigorous "restless molecule".
The difference in tension between the two, like an ignited detonator, seems to be ready to explode on the spot at any moment.
Looks like a typical commercial film start?
No.
In Sir's view, if the expression of many realistic themes and the aim at the life of the bottom are looking forward to a premeditated thrilling.
Then for "Fudu".
It was more like a long, weak wisp of green smoke that had been wet before the flame had even burned, leaving nothing above the ashes.
It's a counter-intuitive contrast.
And this contrast is also the only expression of the whole movie from beginning to end.
01
"Pre-made dishes"
- What a strange subtitle.
But when Sir finishes telling this story, you will find out the meaning.
Ah Bang (played by Wu Kangren) and Ah Di (played by Chen Zeyao) are a pair of brothers who live in Fudu.
The elder brother Abang is deaf and mute, and he works as a black worker in the vegetable market every day.
Killing chickens, washing vegetables, and transporting goods.
He does all the dirty work that can make money.
The younger brother Adi is more complicated.
Although he was born in Malaysia, he does not have an identity card for some reason.
To make ends meet.
Adi teamed up with the smuggler to secretly smuggle illegal immigrants to Kuala Lumpur and make money on a capitation basis.
It's just that business is not good.
Not only was he deducted from the smugglers, but he also had to be vigilant against the police to chase him and "confiscate" the head.
Where are my commissions?
You haven't paid me in months
(Slap)
Over here.
People are the least valuable things.
As soon as the foreign workers were chased by the police, they were so frightened that they fled in all directions like cockroaches.
"Cockroaches", of course, there are only two ends-
Or be driven away.
Here's a detail when a foreign worker was caught by the police and asked what his name was.
He subconsciously answered not the name of the person, but the job number.
Because the land never needed a name to symbolize status, only a number representing a person's head.
Another end.
Someone with slippers, snapped, shot to death.
The sound of people jumping off a building is actually very common.
Not a bang.
Rather, it cracked open with a soft thud - like a ripe, runny pumpkin.
Originally.
Abang and Adi are used to life in Fudu.
Even if they don't have an ID card, no bank card, can't get a driver's license, and can only do some illegal work.
But they have each other, so it's fun.
Two people like to eat boiled eggs the most.
The best time is to eat after work and knock eggs on each other's heads.
The tepid days went on like this.
Until.
The appearance of a person –
Community volunteer, Jia En (played by Lin Xuanyu).
She is responsible for helping illegal immigrants in Fudu to get legal status as soon as possible.
I'm trying to get an IC (ID card) for everyone.
Naturally.
Abang and Adi are also the people she helps.
It's just that the attitudes of the two are completely different.
Abang is very grateful.
Adi has little interest in "going ashore".
Even if Jia En has found out the identity of his biological father, as long as he does notarization, he can get an ID card, he is not willing to recognize him.
You know, how important an ID card is -
Medical insurance, pension, bank loans...... It involves a person's rights and interests in all aspects of society.
No identity.
It's really like a mule and a horse in the market, for people to buy and sell and serve.
Many did not wait for a legal identity and went to despair - during which there were illegal immigrant girls who attempted suicide because they had no status.
Jia En went to the government unit to run through the procedures,
But the result?
It's either prevarication or rottenness.
- I'll try, but I can't give you any guarantees
- I'm just a petty councillor
"Fudu" used a picture of three people intertwined to give the audience the bottom.
The predicament of the two brothers, the government's policy gap, and Fudu, a ditch-like place that "hides filth and dirt"-
Use typical peeps into the people at the bottom to carry out sophisticated trading on social topics.
In short, a very useful realistic theme to start with.
But many people are still confused.
Why is his younger brother Adi so resistant when he can have an identity?
The answer lies in the twist, and the twist of this film is also one of its biggest controversial points.
Someday.
Garn was killed.
02
"Wine"
Who killed Jain and how?
Sir doesn't do spoilers.
The point is that her body was found in the house of Abang and Adi, and the two brothers are the biggest suspects.
And before the murder.
I believe that some doubts have also been seen by you-
Adi's father has been found and is ready to testify for his son and get his identity back.
And what about Abang?
The film only gives information that his birth certificate was burned in the fire, and the rest of the clues are gone.
Why can't the two brothers rely on their own father to get their identity?
The answer is already on the horizon:
Because Abang and Adi are not brothers at all.
The lonely and helpless two met in Fudu when they were young, so they kept each other company and declared themselves to be brothers.
△ Egg knocking fun from small to large
And after seeing through this layer.
If you look back at the lives of the two brothers, it becomes a little strange.
For example, the brothers obviously have good women, but Abang rarely takes the initiative, and Adi only solves his physical needs.
Here's a detail.
Adi's lover is a prostitute, and the money she earns from picking up customers is given to Adi to spend.
When the two separated, the prostitute wanted to go ashore and find someone to marry.
Adi said, "I'll marry you." ”
You think that if a prostitute earns money for this man, she must be in love with Adi, and breaking up is a forced marriage.
But no.
She just looked back at him faintly and didn't say anything.
The reason?
Hidden in the bed scene in the first act.
When Adi and the prostitute are having a good time, they don't care about her feelings at all.
The pleasure is on the head.
All he knew was that he was so arrogant that he threw a woman out of bed, but he didn't care.
Adi doesn't love prostitutes, and prostitutes themselves know it.
Ditto.
Abang is the same here.
Knowing that the neighbor's little sister likes herself, she finally had some physical contact, and it all depends on the woman's initiative.
Younger brother scum, elder brother Mune?
Look closer.
In their free time, the two brothers frolic and roll over in bed.
The puppet mother next door had a party, and the two of them went to join in the fun.
In a group of "men", dance.
A little bit of a look at it must have seen it.
One and a woman without feelings;
One relies on a woman to take the initiative.
△ 《Severed Mountain》
Two men dancing tango in a dimly lit room.
There is plenty of light and shadow, and the snort is similar.
△ "Springtime"
哦.
There is also a waterfall lamp of the same type.
This is really an open-book question.
And the vague relationship between Abang and Adi also paved the way for the turning point of the whole movie.
- That was the death of Jain.
Who is the real culprit?
I didn't answer this question.
The mystery given by the movie is that Abang comes forward to confess his guilt.
He as an older brother, as an elder brother.
Of course, it is also because of that layer of emotion that neither of them dares to provoke.
In prison, Adi meets his emaciated brother.
This scene uses a small prop to reveal Abang's inner activities.
He saw Adi.
The first reaction is to dissociate oneself.
- You are not my brother
You think he's holding a grudge?
Not.
Because he saw Adi crying, Abang also cried.
But when Adi wanted to keep it, he called "brother".
Abang made a move-
He took off his only hearing aid.
In a physical way.
Completely cut off the last communication between yourself and the other person, and then leave.
When you take off your hearing aids, you don't just want to be retained.
But when the two brothers first met, Abang didn't have hearing aids at that time.
He took off his hearing aids and denied the "brotherly relationship" between the two, which is actually a kind of nostalgia for the past.
Nostalgia for the past.
It's because they don't have a future.
Whether it's brothers, identity, survival...... is still that inexplicable feeling, there is no future.
They know this.
So it all had to stop there.
The characters are like that.
The highlight of the movie is here, and the same is true.
03
"Pre-made dishes" and "wine"
A movie with a score of 7 is really embarrassing in terms of scores.
Obviously.
Such a spicy social issue, coupled with an actor who is famous for his acting skills.
The combination of strong and strong, no matter how you say it, will not fall to the step of mediocrity.
But the problem is that -
"Fudu" gives people the biggest feeling that they want to talk about everything, but they don't talk about anything well.
Many expressions are just passing by, or even scratching the shoe.
For example, the plight of illegal immigrants.
What happened to the immigrants who couldn't find a job?
There is no following in the movie.
For example, Adi's rejection of his father.
Although the movie gives him a shot that he doesn't want to recall about his life experience, it lacks more detailed processing after all.
Why did he leave his family of origin, and why did he hate his father?
If he rejected Jaeun's proposal because he didn't want to part with Abang.
So why did he turn back to find his father after Abang was imprisoned?
Is it the hatred that has been curtailed?
Or did you find that you still have to live a good life and decide to get your identity back?
These are also not pursued.
Eat, offspring
△ At the end, his father speaks Cantonese, and Adi is foreshadowed in the film to understand Cantonese
Coupled with the ignorant feelings between the two brothers, as well as the occasional touch on the LGBT community.
In fact, even if you hold on to a point and dig deeper, you can cut out more content and expression.
It's not like it is now.
I feel that everything is over after watching it, and I feel that the director wants to include everything, but everything is just passing by.
Whether it's the bottom group, foreign workers, immigration policies, the gap between the rich and the poor, or the same sex.
Either.
They are supposed to show something deeper than what is currently being contented.
It's not like this, just spectacle everything and put it out and hang it there.
It's really a good hand of cards to play badly, and there is a feeling of opening high and going low.
And what about the highlights of this film?
No doubt.
Wu Kangren.
Whether it's the sense of rhythm when playing sign language, or his eye play with his "younger brother".
All of them accurately demonstrate strong control and control of emotions.
Sir put two GIFs for you to feel.
- This is a "quarrel".
- This is "crying".
It's not enough to express it in sign language, just add a look.
Look at it.
Here he is using the role of a deaf and mute person to "act" his childhood memories to the person opposite.
This is "acting" on top of acting.
I don't have a home
I don't even have parents
I could only "watch" from afar
It's not that deaf people can't speak, it's that they can't stitch words together.
So when the tone is agitated.
They will emit a muffled hum or even a slight phlegm sound from their throat to express emotions in conjunction with sign language.
To achieve this level of perfection, Wu Kangren spent more than 20 days, during which he only NG once.
Plus he is from the bottom of the family.
Therefore, the daily life and habits of those part-time workers in the film are his real experience of life.
What is "acting", in fact, it is himself.
△ Station B @ 1, interviewed by Wu Kangren
Wu Kangren's performance, it is no exaggeration to say that it supported most of the brilliance of "Fudu".
And such a configuration and the final result are also the core of Sir's evaluation of this movie.
"Pre-made dishes".
"Wine".
The two are contrasting and have multiple meanings.
The first layer is the poor society of Fudu, and the secret emotions during growth.
The second layer is that the whole movie has an empty theme, and the content and logic need to be strengthened.
But because of Wu Kangren's performance, it adds a lot to the film.
What about the third layer?
is that the movie itself actually takes into account some details, but it still does not have a higher idea and divergence.
For example, the details of the eggs in the film.
The director also mentioned that eggs exist because they are the only nourishment for the poor.
Knock eggs on the door of the brain.
It is to give a life without waves in the backwater, a little fun.
But other than that-
We can't see more of the dirt at the bottom, the portrayal of humanity at the bottom.
Even if the director is a little bolder, he can obviously ask strong questions about people's livelihood and the government.
For example, "Under the White Sun".
We were able to report on the series of subsequent events that were triggered by journalists' coverage of the nursing home.
Think about what the value of news is and what is the raison d'être of news.
If the news doesn't make reality any better (or even worse) for the person involved, should it still be upheld?
For example, "Drifting in Muddy Water".
It's about the anger of the homeless, the anger of society and government workers.
"Muddy water" is not only a satire of a nihilistic life, but also a low-level society that carries countless poor people.
A good filmmaker is able to effectively absorb and reflect real problems.
With a unique perspective, the camera takes us to see corners that are usually difficult to reach, triggering reflection.
It's like that detail in the film.
The police came to Fudu to sweep the building, and everyone gathered in the corridor.
There are illegal workers, Burmese, Indians, transgender people, prostitutes, ......
Even if there were locals among them, they did not dare to resist the authority of the police.
The police took the family's belongings with ease, and no one dared to stand up and fight for their rights.
Then.
The neighbors finally couldn't help but help.
Why did the government let these people in in the first place, and now they are "illegal" again?
Adi said indignantly:
As a result, the neighbor laughed contemptuously.
In addition to sarcasm, there is also helplessness in the smile.
So everything is like this again, and it ends without a problem.
The rights they imagined were non-existent from beginning to end.
And the abrupt end of the movie seems to further amplify this futility.
- You see, I can't even say it anymore.
Movies, in addition to using "reality" as a vivid background board.
Should we take another step forward?
A clear insight.
"Big Buddha Plath", the Buddha statue of the hidden corpse is pasted with gold leaf and worshipped.
The director used black humor to expose the "all beings" as unequal, and the upper echelons wantonly crushed the bottom.
A systematic critique.
"The Next Suhee" takes 996 as the main topic, analyzing why a young man who is struggling to gain a foothold in society is cornered.
Or, some "cool weather, good autumn" taste.
"Days and Nights in Tin Shui Wai", the part-time jobs, grocery shopping, festivals, and going to school of low-level families are all permeated with bitterness, but they make people feel firm and powerful, and the human feelings are warm.
We are indeed touched by reality.
But the art of film should also create more things for the audience on top of reality.
Those things are the beams that lead us back to the movie over and over again, and see reality more clearly step by step.
And Wu Kangren is the beam of "Fudu Youth".
This is the luck of the movie.
It's also a pity for the movie.
The picture in this article comes from the Internet
Editorial Assistant: Wearing Prada's pumpkin