There are two things in the world that cannot be looked at directly: the sun and the human heart.
In the face of the sun, fireworks are no longer glorious, and in the face of the human heart, even if the emotions are strong, they cannot compete with greed.
"Daytime Fireworks" won the Best Film Award at the Golden Bear Award at the 64th Berlin Film Festival, and Liao Fan, who played the male lead, also became the first Chinese artist to win the Silver Bear Best Actor Award with this film. All the judges who participated in the election voted for "Best Picture" to "Daytime Fireworks", a film with a dark black tone that undoubtedly became a dark horse.
If you compare this film with "Color Ring", it is more of a burst in introverted. As director Diao Yinan said, "I don't like to show some things bluntly", the film does not have half a nudity scene, but the "sex" is almost cruel.
In "Color Ring", what promotes emotional development and provokes the climax is the explicit and bold bed scene of Mr. Yi and Wang Jiazhi, full of overflowing eagerness, but revealing despair and coldness in eagerness. In contrast, in "Daytime Fireworks", whether it is Zhang Zili and his ex-wife, Zhang Zili and Wu Zhizhen, the three scenes about sex are dull and have a feeling of being overwhelmed.
In dramas, film and television dramas, "sex" often alludes to "desire". For example, harold Pinter's absurd drama "Lover" shows the tangled and abnormal possessiveness between Richard and Sarah through their sexual expressions; for example, the American drama "House of Cards" plays the innuendo of "sex" and power to the fullest.
The overall feeling of the film is full, many seemingly useless plots are wrapped in layers of details, "the key is not whether your eyes see, but whether your subconscious mind receives" -
The beginning of the movie. Zhang Zili and his ex-wife sat on the hotel bed playing poker, sex, Zhang Zili wanted to make love to his ex-wife again at the station but was pushed away, the ex-wife's head left without turning back, Zhang Zili silently looked at the divorce certificate. Many viewers believe that this scene is just explaining why Zhang Zili has become decadent. However, this series of interactions reflects the relationship between the heroine Wu Zhizhen and her "living dead" husband Liang Zhijun.
He still loved her deeply, but she had abandoned him in the most decisive way.
In this bed scene, the ex-wife's outstretched hands and scattered playing cards, Zhang Zili's clenched hands and the green tendons on his arms show the ex-wife's indifference and Zhang Zili's desperate efforts to save it. At this time, the camera gives a long close-up shot to a seven-star ladybug lying on the sheet, which bluntly sets off the meaning of "sex", which represents Zhang Zili, full of sexual exuberance, and has a different charm than other men around Wu Zhizhen.
Another intriguing scene, which transitions to the tunnel entrance in 2004, is where pedestrians pass by Zhang Zili, who is drunk and falls on the side, and thought he was concerned about getting out of the car, but unexpectedly stole Zhang Zili's motorcycle parked on the side. Scenes that seem to be unrelated to the overall plot of the murder reflect the main idea that the whole film wants to express.
The so-called human nature, a moment of warmth, a bloody blade.
As in the movie:
(1) Zhang Zili led the team to arrest the Liu Fayin brothers, because he forgot to carry handcuffs, he had to use the only pair of handcuffs to torture the two together, when other police officers questioned roughly, Zhang Zili stopped them twice, but in the blink of an eye, the Liu Fayin brothers picked up a pistol and shot two police officers, Zhang Zili had to pull out a gun and kill the two.
(2) The captain of the criminal police sympathized with Liang Zhijun's "skating and falling" arm, but he was slashed with an ice knife, and the body was discarded in the coal train, leaving no bones.
(3) Liang Zhijun, out of extremely possessive love for his wife, murdered his wife's lover, disposed of the body, and left his identity card at the scene, so that the identity of the lover became himself, and since then he has lost his identity and become a possessive shadow hiding in Wu Zhizhen's dark place. In order to break free from this heavy tenderness, in order to let the truth of 1999 completely cover the coffin, and for Zhang Zili's "olive branch", she chose to set a trap with the police, resulting in Liang Zhijun being killed.
(4) Zhang Zili drove away the arrogant little for her, invited her to skate with her, and made love after skating, all of which made Wu Zhizhen's soul possessed by Liang Zhijun have an opposing thought, and also made her willing to come out of the shadow of her lover's murder to find warmth again. The reason why Zhang Zili approached Wu Zhizhen was for the sake of the case, and the other was simply to satisfy the needs of sex. Perhaps Zhang Zili's crazy solo dance, the helpless bitter smile at the celebration banquet and the daytime fireworks when identifying the scene show his love for Wu Zhizhen, but this love is more of a guilt. He used Wu Zhizhen, but in the end he did not get what he hoped to get, and the result of not being able to recover the cost was not so much regretting using Wu Zhizhen as regretting the chess pieces thrown away in vain.
One of the most abrupt scenes is the horse that appeared in the residential building when the neighborhood committee investigated the case. According to the residents, the owner of the horse did not know where to go, and when he saw that it was cold and hungry, he led it to the corridor. If the seven-star ladybug represents Zhang Zili, then this cold and hungry horse represents Wu Zhizhen. The so-called owner who does not know where to go is Liang Zhijun, who is hiding in the shadows, and cold and hungry represents wu Zhizhen's current situation - lack of love, but also lack of sex.
Here it can be seen from the film: the laundromat owner used her hands and feet, she did not object, only when the store came to the person to overturn the iron barrel to interrupt the boss; Zhang Zili first asked her to skate, the two kissed in the dark, she did not resist Zhang Zili to overwhelm her, and even the two skated in the same taxi, the two still had a kiss; the ferris wheel at the top, Zhang Zili wanted her to take the initiative, she also complied with Zhang Zili's requirements.
This also makes the overall plot logic of the film seamless.
Wu Zhizhen is a person who is eager for sex, and her husband Liang Zhijun cannot meet his needs (just stroke Wu Zhizhen's hair and neck in the room), because of this, Wu Zhizhen is entangled with her lover, and the lover is a person who can meet her desires, and that lover is the husband of the bar owner Third Sister, and from the words of the third sister, we can understand that her husband is a person who spends a lot of time and has many mistresses. After Liang Zhijun killed her lover, Wu Zhizhen buried her lover's ashes under a tree in front of the laundromat, not so much as a remembrance of her lover as a tribute to sex.
Liang Zhijun became the biggest obstacle to Wu Zhizhen's needs, Wu Zhizhen's two boyfriends were brutally killed by Liang Zhijun in 5 years, and the laundromat owner was a sexually wrong person, and could not be a thorn in Liang Zhijun's eyes.
It was not until he met Zhang Zili that he rekindled Wu Zhizhen's desire to resist possession, and even more re-stimulated the hidden desire in Wu Zhizhen's heart, a seven-star ladybug encountered a horse that was dissatisfied. How grotesque it is, how warm it is, how warm it is, how cruel it is.
Wu Zhizhen has been dressed in plain face and black and gray tones in the first half of the film, until she took the opportunity to get rid of her husband, and then began to wear makeup, put on red clothes, and went on a date with Zhang Zili on the Ferris wheel.
Makeup and dress-up represent the change of Wu Zhizhen's mentality.
Sexual love cannot be exchanged for a happy ending, just as the fireworks that explode in the day leave only gray smoke.
Zhang Zili approached Wu Zhizhen in order to use it, using Wu Zhizhen to solve the case, using Wu Zhizhen's body, and using Wu Zhizhen to become a criminal police captain again.
The most ruthless sentence in the whole film, Zhang Zili pointed to the "daytime fireworks" bar on the Ferris wheel and said to Wu Zhizhen: "You had better take the initiative, and it is much better to take the initiative to tell me now than to take the initiative to tell others later." Zhang Zili showed his desire thoroughly in this sentence, he knew wu Zhizhen's affairs with her lover, and he knew that without Liang Zhijun's protection, Wu Zhizhen was the fish under the knife. The killing of Leung Chi-jun did not give him a chance to return to the police force, he needed a bigger turn to pave the way for his desires.
And Wu Zhizhen's active "dedication" on the Ferris wheel, that inexplicable and strange "sex", is the paving stone of Zhang Zili's desire. That passage was not at all an exhortation to surrender, but a naked threat.
Wu Zhizhen put on lipstick in the bun shop the next day and asked, "Do you still meet at night?" This is her last retention for Zhang Zili, just as Zhang Zili threw down his ex-wife on the platform, speechless and desperate. Zhang Zili's vague response shattered all hope in Wu Zhizhen's heart.
Zhang Zili used the murder of her lover as a pretext to denounce Wu Zhizhen, and Wu Zhizhen did not deny the accusation, and even cooperated with the police to identify the scene. Many people think that Wu Zhizhen's murder of her lover and Liang Zhijun's protection of his wife are the truth of this movie. In fact, this is not the case, because Wu Zhizhen was a victim from beginning to end, and the identification that seemed to confess was only Wu Zhizhen's despair.
Why? Because Wu Zhizhen's identification is only to match Zhang Zili's desire, just to let his despair find a home. Wu Zhizhen could not have chosen to kill her lover, just as she was willing to sacrifice herself to Zhang Zili's desire. She is only a hostage of "sex", a slave to desire.
And the situation that Zhang Zili painstakingly managed only brought him a celebration banquet, and the credit also became "leader and guidance", he still had to return to the factory as a security guard, and still could not return to the criminal police team that he had in mind. The reason why he danced madly solo and laughed helplessly was not out of guilt, but out of waste.
Fireworks are beautiful and romantic at night, while during the day they are noisy and unwelcome.
The upside-down sex of the white night, the love that is not born at the right time. Liang Zhijun, Wu Zhizhen and Zhang Zili are all the creators of tragedy and the victims of tragedy.
Under the avalanche, no snowflake is innocent, and under sin, the poor man must have something to hate.
At the end of the film, Zhang set off fireworks on his own, leaving only gray smoke in the sky, wu Zhizhen looked up at the sky, and his eyes were full of tears. Zhang Zili's final confession, pale and weak, is the same as the Internet addict teenager in the Internet café smashing the computer and shouting "My Shabak my verdict", which seems romantic, but it is actually terrifying. "Shabak", representing the supreme power in the game "Legend", reflects the power connotation of "sex" in the movie. It was not a romantic confession, but a frenzied venting of the loss of the "Shabak".
At this point, the film ends abruptly.
Daytime fireworks, almost unimposed, worthless.