《Platform》
It is also a dry and tedious documentary-style film of Jia Zhangke, although it is boring and tedious, it is real and powerful, thick and shocking.
The small people in the big era may be the eternal theme in Jia Zhangke's films, and "Platform" is no exception, the protagonist is a person, either casual or flustered to himself; to youth or confusion, or debauchery; to the times or helplessness, or madness. Their lives weave through the ever-changing platforms, ups and downs in the era of constant progress.
The dilapidated county town, the old costumes, and the gray sky are the most unique microcosm of that era; they who follow the waves, their aimless youth, and the restlessness that have nowhere to rest have become the most authentic footnotes of that era.
"Platform" is real and cruel; it longs and struggles.
Suzhou Creek
Affectionateness is accused of being pretentious and is our biggest misunderstanding of this era. "Suzhou Creek" is a "sentimental" film, jumping shots, quick flashbacks, handheld photography, and sharp editing, conveying the confused emotions and fluctuating love of small groups under the metropolis.
Peony and Beauty are two sides of "love", Mada is the one who is struggling to find, and "I", as the narrator, is both an insider of this love and an outsider of this tragedy, and has always been in the absence of the presence or absence of the present.
And the illusory love, looking back, finds that it has the most solid texture. This love game will not end in vain, and the ending has long been hidden in the beginning.
Originally thought that Suzhou Creek was in Beijing, but foolishly wanted to see the river, and later learned that in Shanghai, there is a distance of 1200 kilometers. But time is not a distance, and I'd rather be alone with my eyes closed and waiting for the next love.
"Yesterday"
The film combines the authenticity of the documentary, the drama of the film and the stage sense of the drama, and combines the rebelliousness, madness and "return" of an actor (Jia Hongsheng), with the avant-garde experimental spirit of perseverance and perseverance.
Drug addiction, alcoholism, rock and roll, and the whole world are not pleasing to the eye, Jia Hongsheng's image projects a part of the youth underground group in the 1980s and 1990s, who have paranoia and madness that ordinary people can't understand, just like a line in "Grow Up" - "Play less decadence with me, I want to throw up when I see you." ”
Life is like drama, drama is like life, and the realistic ending of such people is also full of drama, such as Jia Hongsheng's suicide, such as Zhu Hongmao's disappearance. The word of the heart, the most afraid of a word into a slur.
"Seventeen-year-old bicycle"
Seventeen years old, owning a bicycle, as if owning the whole world. As a result, the wounds and pains of youth, love and glory can be maintained by the gains and losses of bicycles.
It can be a bicycle, it can be a pair of sneakers, it can be a game console, there are always a few twists and turns of unforgettable youth cruel stories, in which we collide and grow, but also sink and sublimate in it.
"Wheels Never Ending", "Long Journey", "Crazy Racing", "Etude", "Blue Gate", "Breaking the Wind", "Turning the Mountain"... Any bike-related movie is generally not bad.
Anyang Baby
The narrative preferred by the sixth generation of directors or underground directors is mostly the long shots of police prostitutes and gangsters. The skill is as superb as Jia Zhangke, the film is full of disorderly order, rough texture and dirty romance; if the skill is not strong enough, I am afraid that most of them are only disorderly, rough and dirty.
The director's avant-garde consciousness and experimental spirit can be seen in "Anyang Baby", but the redundant pictures and contrived long shots make people feel uncomfortable. This is a very "pretend" film, "pretending" as a marginal chronicle of the underlying care, "pretending" as a confrontational system of artistic exploration, but the director's later series of bad films finally let all this leak out.
Don't be afraid of being ridiculed, don't punch your swollen face and be fat, as long as you honestly show your true appearance, you will be cute.
"Summer Warmth"
Director Ning Ying's "Beijing Trilogy" starts from different perspectives, does not stand tall, but dissects sparrows, paints a portrait of Beijing, and outlines a Beijing landscape full of fireworks.
"Summer Warm Yangyang" takes the emotional experience of taxi driver Feng De as the line, connecting the survival records of urban middle and lower-class characters (waiters, intellectuals, migrant girls, etc.), with rough texture and real power.
Although trivial and scattered, it is still full of vitality and can glimpse the shadow of Italian neorealist cinema.
"Purple Sun"
Aesthetic pictures, romantic music, the beautiful and vast Daxinganling seems to be a paradise-like utopia, isolated from cruel war and bloody killing, this is a war of resistance film.
The protagonists are Chinese, Japanese, and Soviets, corresponding to the aggressor, the aggressor, and the bystander, and examine and reflect on the war from the perspective of the three countries.
Unfortunately, this is also the last glory of director Feng Xiaoning.
"The Man Who Hurt Me The Most In the World Went"
Family love movies are not always full of warmth and touching, especially in the face of the elderly, there is filial piety from the heart, but in the face of those heart-wrenching and trivial daily life, they will yell at the elderly when they have an emotional breakdown.
"The Man Who Hurt Me the Most In the World" tells the story of a daughter's experience when taking care of her elderly mother, which is real and even a little cruel, the two rely on each other but can't help but hurt each other, and after the injury, they feel guilty. As a result, there is always a cycle of hurt and guilt, kindness and torture.
The film keenly captures Chinese view of family affection, deep blood ties and trivial quarrels. Because of this, perhaps this is a movie that only Chinese can really understand.
Beautiful Bigfoot
After the reform and opening up of films, the proportion of rural themes is gradually declining, and the proportion of urban themes is gradually rising, which is another silhouette of the vigorous modernization construction and urbanization development. The film gradually shifts from rural to urban oriented, reflecting the loss and withering of the countryside. Under the dual system of urban and rural areas, the strong have the right to speak, and the countryside is in a state of aphasia.
"Beautiful Bigfoot" tells the story of a poor northwest village: Zhang Meili is willing to bury her head in the yellow sand so that the children in the village can receive education. As for the films about rural education, there is no shortage of such stories in the land of China, nor is there a shortage of such heroes (Li Guilin, Lu Jianfen, Zhi Yueying, Zhang Yujuan, Zhang Guimei, etc.), only in how to tell and present.
There are problems with the film's editing, lines, and story, and even to some extent it is not the rhythm of the movie, but it is flawed that "Beautiful Bigfoot" is still a "beautiful" movie.
The Blind Well
No matter how black the coal is, no one has a black heart; no matter how dark the mine is, there is no darkness of human nature. "The Blind Well" unveils the fig leaf of human nature, revealing the ugliest and most despicable side. This is Pandora's box, and the film does not open, but only presents.
If reality is too much, it is absurd; if it is too cruel, it is magical. It's a black absurdist film full of magic realism, and what shouldn't have happened existed "considerably" like ringworm.
I only hope that after you read it, you will still have faith in human nature and hope in the human world.
"Carla is a Dog"
Lu Xuechang, the director of the film, said: "If there is a more relaxed environment, there will be some good movies coming out. There are many excellent directors in China, and it is very simple for Chinese films to do well - authenticity. Just do it realistically. For many years we were very fake, which is the biggest problem with Chinese cinema. Indeed, only the truth can show the most vigorous power of the film, and it is also the prescription for the prosperity and development of Chinese films. Just as the reason why domestic films in the 1980s and 1990s were well received was that the positive interaction between movies and reality and the same frequency resonance with life.
"Kara is a Dog" is about dogs, but it is talking about people, just like the second oldest said, "Only in front of Kara do I feel like a person." Whether it is squatting in the dark alley to nibble on watermelon, lying on a chair and chewing cucumbers, or looking for someone to do things in the sun, the police station asks for someone to release the dog, all of which show the crampedness and embarrassment of people, especially under the impregnable environment, appearing incompetent and helpless.
The combination of de-dramatic narrative, open-ended endings, documentary style, reality and absurdity, can be found in the film, and the shadow of de Sica's Italian neorealist film can be found in the film.
"Warm Spring"
"Warm Spring" is the grandfather's version of "Mother Loves Me Again", the kind and honest grandfather raised a girl picked up in the village, for this girl, the grandfather confronted the son's incomprehension and the daughter-in-law's viciousness, and the grandfather staged a touching tearful bitter love drama.
In fact, the touch is also divided into ages. If you watch this movie as a child, I am afraid that you will really shed tears; when you grow up, watching this kind of movie that pulls your tear glands to make you cry, it will be a little diaphragm, even uncomfortable.
Sensationalism is not original sin, but how it should be sensationalized. The right sensationalism is better than the clumsy funny, and the clumsy sensationalism is too strong.
"Purple Butterfly"
Like his latecomer Lyceum Theatre, Lou Ye switches the camera from the materialism and lust of the modern city to the ever-changing Shanghai Beach of the 1930s. "Purple Butterfly" combines personal feelings (children's love) with national destiny (Sino-Japanese War), telling the story of war, guns and love in turbulent times.
Under the grand narrative of the national vision and anti-Japanese writing, the film is still difficult to hide the lack of storytelling. The imbalance between style and story makes the film ride the wall between art and commerce, losing ground and being in a dilemma.
Sometimes I think that if there is no unique style, no distinct personality, no other "political correctness" and "discourse advantage" of underground films, and no unyielding posture outside the film and censorship, Lou Ye is afraid of nothing.
"July of the Car Watcher"
Where public power fails, private relief is often reduced to violent relief, and the last brick of Du Hongjun is a crazy release that has been suppressed and endured for a long time. The bitter helplessness of the low-level characters accumulates day by day, and a very small stimulus event, such as the breaking of the son's birthday cake, can become the last straw that crushes the camel.
The collapse of adults resorting to themselves is crying, appealing to others, and killing, which is what Mr. Lu Xun said: "Not to erupt in silence, but to die in silence."
Life is not always a happy ending, or most of them are not, and the film has the responsibility to reflect this part of reality, dissect the emotional texture of ordinary people, and more importantly, to tolerate the logic of the loser with the courage to look directly into the abyss.
"Letter from a Strange Woman"
Adapted from Zweig's novel, Letter from a Strange Woman tells the story of "I love you and have nothing to do with you" story. This long-lasting love is quiet, but it is also vigorous, but "ruthless is not like amorous suffering, an inch is still tens of millions of strands", this unilaterally initiated relationship can only blossom, not allowed to bear fruit; can only be close, not allowed to be guarded.
"Love does not know what to do, but it goes deeply; love does not know what to rely on, until death." However, healthy love is like a spring breeze, and the dim-witted love of the mediocre disturbs itself, what kind of love is this?
He felt death, he felt immortal love. A hundred feelings of sorrow rushed into his heart, and he vaguely remembered the invisible woman, she was floating, but enthusiastic, like a burst of music coming from afar. ”