On the evening of September 24, the 64th San Bastian International Film Festival in Spain closed. Directed by Feng Xiaogang, "I Am Not Pan Jinlian" won the Golden Shell Award for Best Picture, and the film won the award again after the International Film Critics' Fabisi Award at the Toronto Film Festival.
Fan Bingbing won the Silver Shell Award for Best Actress for her role as Li Xuelian in the film, which is also her second time since the Best Actress at the Tokyo Film Festival in 2011.
Chinese films have won two important awards at the International A-category Film Festival. This is also the second time in 7 years that Chinese films have won the grand prize in the main competition unit of the film festival.
The last time was in 2009 Lu Chuan's "Nanjing! nanking! won Best Picture.
Let's talk about this film festival.
The San Sebastian Film Festival is held in Spain at the end of September every year, and is one of the oldest and most influential film festivals in the world, along with the Berlin International Film Festival, the Cannes International Film Festival, the Venice International Film Festival, and so on.
Many people do not know that this film festival can be called the "cradle of film masterpieces", and many well-known directors from the East and the West have come to the world film scene from here.
For example, the director of "The Godfather" Francis Ford Coppola took off here, and many masterpieces of famous film history were first premiered here.
At the award ceremony, Feng Xiaogang said: "I am almost 60 years old, I have made a lot of movies, when I am ready to shoot "I am not Pan Jinlian", I hope to do some daring things like a young director, I know that this will take a very big risk, in fact, I have also been opposed by many people, but I am very stubborn to insist on doing this, I don't know if this is right, but today the San Sebastian Film Festival gave me an answer, thank you to the organizing committee, You encouraged me to make some brave and bold attempts. ”
Indeed, to say that the movie "I Am Not Pan Jinlian" is a literary film, in fact, it is more like an experimental film.
The film is based on Liu Zhenyun's novel of the same name, telling the story of Li Xuelian's ex-husband who scolded Li Xuelian as "Pan Jinlian", in order to return his innocence, Li Xuelian began to sue him, but one thing quickly became another, in order to correct a sentence, Li Xuelian sued for twenty years.
"I Am Not Pan Jinlian", as the only Chinese film shortlisted for the main competition unit, was well received by the audience at its first screening in Spain, saying that it was "beautiful like a poster in every frame".
Not only did it come out on top at the San Sebastian Film Festival, but the film also won the Toronto Film Festival International Film Critics Association Best Film Award (Fibisi Award), and the organizing committee praised "Li Xuelian is a Kafka-like struggle, and the director plays the form and content very high".
The Hollywood Reporter, one of the two biggest newspaper giants in the American entertainment industry, praised Fan Bingbing's performance as "a demonstration of her talent as a comedy actress." The Toronto Film Festival is known as one of the "important bellwethers of the Oscars", and the award is selected by professional international film critics as the "most demanding film award".
The most striking thing about the film is the circular composition. Shape-specific, matched to the circular composition, fine, skillful, sleek, with the old traditional posture and the new Chinese aesthetic.
The famous film and television magazine Screendaily described it as "using round images like a magnifying glass to tell her story through stunning painting effects".
Of course, "I Am Not Pan Jinlian" is not without a precursor.
As early as the initial stage of the film, in 1900, George Albert Smith's "Grandmother's Magnifying Glass" was to use the perspective of the magnifying glass to shoot round shots, so that the panorama and close-ups were interlaced. This case, on a certain level, is also the first to give a narrative meaning of the alien frame.
Later, in 1955, the Japanese director Keisuke Kinoshita filmed the literary adaptation of "The Tomb of the Wild Chrysanthemum", which is a softly bordered oval picture, showing the beautiful and picturesque scenery of the Tokyo countryside, and the mood is exactly the same as in Lu You's poem.
"Shao Ri once inscribed a chrysanthemum pillow poem, and the fragments of the bag were edited to lock the spider silk.
Everything in the world is exhausted, and only the fragrance is as good as the old times. ”
The circular composition part of "I Am Not Pan Jinlian" and "The Tomb of wild chrysanthemums" have a bit of a resemblance, with a classical painting composition method and even tonal charm.
The scenery of Wuyuan Landscape, where the film was filmed, was incorporated into the green image in the film, and most of the characters walked in the middle scene, giving enough background space, and digital photography added a clear beauty of the flower and bird workmanship.
"Technically, the circular mask puts a more demanding picture test of composition and color on the moving image; and from the audience's point of view, this will inevitably challenge their viewing habits – perhaps this is the biggest test for Feng Xiaogang."
"I Am Not Pan Jinlian" actually has not only a circular composition, but also the other half is square. The alien composition is not to create a gimmick, nor does it not only show the "Chinese style painting", but a formal experiment that perfectly matches the content.
For example, compared with Zhang Yimou's "Qiu Ju Fights a Lawsuit" with a similar content structure.
Zhang Yimou filmed the story of "Qiu Ju Fights the Lawsuit" very realistically, and his attitude was also very square, bent on restoring the axis strength of a real rural woman and her difficult situation.
Li Xuelian played by Fan Bingbing is not the same, she looks like an axis, but in fact, it is like an elastic leather ball, constantly reacting to external forces. Her appeal was initially to solve the problem of being cheated into divorcing herself, and after giving up, she was stimulated by her husband to become "I am not Pan Jinlian", but this complaint has become less important.
When presenting the International Film Critics Association Award for Best Picture (Fabisi) at the Toronto Film Festival, the International Film Critics Association presented the film with the following statement: "Li Xuelian is a Kafka-like struggle, and the director plays the form and content wisely." ”
Li Xuelian's story is a farce, she uses human feelings in the first half of the paragraph to appeal for justice, and the system judges and responds to the standards of the rule of law. She continues to pursue in the second half of the legal way, but the officials try to stop it with a humane attitude (even a "beauty plan"). The two compartments are always too dull to be synchronized, forming a symmetrical structure in the tug-of-war.
And in "Qiu Ju Fights a Lawsuit", how did Qiu Ju's story end?
The rule of law finally gave the answer, and this answer reflexively asked the value of the rule of law.
The closing of both films is the heroine's thoughtfulness, but Qiu Ju is confused after getting the answer, and Li Xuelian is overwhelmed after completing the task with a chess piece.
"I Am Not Pan Jinlian" ends with the penmanship of very classical Chinese novels, especially those condemned by the late Qing Dynasty.
The screenwriter crosses out the question itself, the Square Circle Of Chinese Society is stated and summarized in a rather surreal scene, and then a "fool" (Fan Wei's cameo that often plays the role of a prophet in comedy passages) awakens the characters with his own original philosophy of survival, that is, to convey the core spirit of the film with blunt metaphors. At this point, the pieces have really been taken off the board, and the auxiliary masks have been removed.
Circular composition, square composition to the final full-frame switch, in the form, even if the comparison of the form content is not analyzed word by word, following Li Xuelian's journey, the audience can also get information directly from the visual impact in each switch.
In the circular classical painting, Li Xuelian's agitated journey has the dynamic sense of breaking through the composition, like a figure peeping in the marquee. When the picture is cleverly transformed into a square, the strong, rigid lines are clearly more powerfully restrained in contrast, showing a modernist style.
When the two are gone, the audience regains a complete vision, and the feeling of sudden enlightenment is not traced, but it is also weathered and rainy.
This is probably the "fangyuan way" of the whole movie, and it is also the most powerful point of Feng Xiaogang.
Previously, many media praised this as "the best work of Feng Xiaogang's comedy career in twenty years", coupled with the "Golden Shell" award of San Sebastian, which could not help but make people have more expectations.
And the movie was previously scheduled for September 30 and then changed to November 18, for many suspicions and worries from the outside world, Feng Xiaogang also gave a "small cannon" response", "Which file is cold, we will go to which file, and in November cold, we will let Pan Jinlian burn November."
As Feng Xiaogang said in an interview before, "I am almost 60 years old, it is not important to make more movies, what is important is whether I can make more good movies."
On November 18, I believe that this much-anticipated "I Am Not Pan Jinlian" will burn all winter.
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