* Deep Focus Monument List *
List of Films
Planning | Deep focus editorial department
This issue is coordinated | Tom
This issue edits | White gull
At the beginning of 2020, box office data from major film markets has been released. We are delighted to see a new record of $42.5 billion at the global box office in 2019. Chinese mainland remains the world's second-largest film market in 2019, with an annual box office of nearly $9.3 billion (64.27 billion yuan). Compared with the taiwan and Hong Kong markets completely occupied by Hollywood, and there are only two Hollywood movies in the top ten of the mainland film box office, the gradual rise of domestic films has shown new hope for the Chinese film industry. For this reason, I have specially reviewed and welcomed the new year.
Last week, a number of film and television companies launched new development strategies. Warner Bros. decided to use artificial intelligence systems to aid project decision-making, HBO is about to adapt the movie "Parasite" into an American drama, and ABC is focusing on developing a new set of superhero series for the channel. At the same time, several major film festival awards are also announcing new news, first the Berlin Film Festival announced that British actor Jeremy Irons will serve as the chairman of the new jury, and then the Oscar ceremony confirmed that there will be no more hosting this year, and the British Academy Film Awards and Academy Award nominations have been announced (see the second box pushed today).
Stills from Parasite
The awards season is in full swing, and at the Golden Globe Awards on January 6, Sam Mendes' "1917" and Quentin's "Once Upon a Time in Hollywood" won the best film awards in the drama category and the music comedy category respectively, and "Parasite" won the best foreign language film without suspense. In addition, many popular films in the awards season, such as "Marriage Story", "Little Women" and "A Beautiful Day in the Neighborhood", have announced their release plans in the mainland.
In terms of resources, this week's cooked meat includes the Dane brothers' cannes Best Director Award work "Young Ahmed", the awards season won a number of nominations for the documentary Macedonian "Honey Land", the 2018 Berlin main competition "Pig" and the 2019 Berlin main competition "Out to Steal Horses", etc.; raw meat, by Roshdi Zem, Leia Cedu starring Deplor Cham's work "The Lamp of Roubaix" and "Breaking News" co-starring Theron, Kidman and Robbie are now in production.
Looking back on last week's push, we paid special attention to, and, had the pleasure of interviewing. In addition, we recommend it to readers to feel the pathological aesthetics of Japanese.
Stills from "The Secret Word of Remembrance"
Back to the word-of-mouth list, this issue will launch three new films, the first is the awards season work "Richard Jewell's Lament" directed by the hall-of-honored veteran director Clint Eastwood, which has been released on the National Arts Federation line, and the director's previous work "Mule" was listed for fourteen consecutive weeks in last year's word-of-mouth list. Based on true events, the film tells the story of a heroic security guard who finds a bomb in the Olympic Park and is investigated as a suspect. The second film on the list, "Don't Tell Her", also comes from the awards season, actress Okafina won the Best Actress award in the musical comedy category at the golden globe awards just past, becoming the first Chinese Golden Globe Award performance award winner, Chinese director Wang Ziyi adapted her own personal experience story into a moving comedy full of Chinese and Western cultural conflicts and exchanges.
The last film is the Venice main competition "Martin Eden", director Pietro Marcello can be regarded as the director of the well-known film magazine "Cinema Scope", his previous work "Lost and Beautiful" was selected as one of the magazine's top ten, and this new work appeared on the cover of the magazine's third quarter of 2019, which is also his first attempt at feature film creation. Using Marcello's consistent narrative style of mixing multiple media, the film adapts Jack London's novel of the same name, classical and modern.
Stills from Martin Eden
In terms of word-of-mouth list, PJ's documentary "They Are No Longer Getting Old" occupied the top of the list for the third consecutive week, "The Irishman" in the third week of the list surpassed "Interstellar Exploration" and ranked second and third, and "Marriage Story" rose two places to the fourth place. Last week's newly listed "Lighthouse" and "Portrait of a Burning Woman", in the first week of the list, came to the middle of the list, ranking ninth and eleventh respectively. Baragov's "Tall Man" and Yuasa's "If You Can" are on the verge of falling off the list, ranking last two.
The first round of the 4th DeepFocus Chinese Film Critics Competition has been successfully closed, and friends who failed to participate can pay attention to the recent addition of the "Bump Mirror DOC Documentary Film Critic Award". The deadline has been extended to January 20, and documentary manuscripts can continue to be madly smashed at us! Regarding the film criticism contest and the way of submission, if you don't know it, please poke:
This issue's list
#本期新片
The Lamentations of Richard Jewell
Richard Jewell
Director: Clint Eastwood
Writers: Mary Brenner / Billy Ray
Starring: Paul Walter Hauser / Sam Rockwell / Olivia Wilde / Jon Hamm / Kathy Bates
Genre: Drama
Country of Production: United States
Language: English
Release: 2020-01-10 (Chinese mainland) / 2019-11-20 (AFI Fest) / 2019-12-13 (USA)
Runtime: 129 minutes
Viewing status: Currently hot
North American Media Metacritics: 69/100
French media Allócine: -- /5
IMDb: 7.7 /10
Douban: 8.3 /10
Deep focus score 85/100
Ada's Plan B, a fan who resolutely responds to the "new movie" and opposes the "old movie"
91/100
Integrity, solidity, sincerity, moving, plain content, masterpiece. Unlike The Washington Post, it seems to reveal reality without touching the slightest view of reality (First Lady-style restoration) Eastwood's films never need to be dialectical, it is only about the characters and the ideology they represent.
Vincent Ninety-Six, a fan in the operating room, is studying for a master's degree in anesthesiology, and always considers abandoning medicine and taking pictures
90/100
Almost 10 out of 10. At the end of this terrible second decade of the twenty-first century, Toki issued his strongest right-wing proclamation. Richard Jewell was no longer a soldier, a captain, an officer, a criminal, but a most ordinary person, even with a poor image, a gray background, a conservative life, and a rough attitude, and Toki used this figure as a stone, and used this event as a slingshot to shoot through the glass of the superstructure from the lowest level. Conservatives maintain instinctive goodwill and sincerity, and even if they have the weakness of being reckoned with counterattack, they are resolutely and sincerely held high, and they insist on truth and dignity. The hordes of media and government investigators are the ugly faces of this false era of advanced democracy, bringing to all sentient beings not equal fraternity, but the slander and expropriation of the masses, and Dongmu's attitude toward them is abandoned, which is a choice made by a ninety-year-old fighter, and will pass on this call to the next generation at the beginning of another decade-old era.
Wu Zeyuan, who worked for "Global Screen", was known as "Dongzhi Men Godard"
80/100
Not all people who have been wronged for no reason can be as reclusive as Richard Jewell. But Eastwood's narrative strategy that matches the protagonist's personality is indeed much more aesthetically superior than many other live-action adaptations. With less as more and retreat as advance, the old cowboy did not complain and complain for the protagonist, but the effect he finally achieved was more striking. This kind of forbearance and restraint belongs to the dignity and elegance of Eastwood, an old-school filmmaker, and perhaps only Jeff Nichols can see this inheritance in contemporary American filmmakers.
Xu Ruofeng, studying art history, is a fan of Hangzhou film
Toki's films in recent years have become more and more flat and stable, but he can still lead people the whole time. Richard Jewell seems to encounter a layer of "accidental" misfortune, but it is also the "inevitable" in the special case, just like the "shark and coconut" problem in "My Name is Black": in a social system that is even more mature, each "gear" doing its own "job" will force good people to the end of the road with a certain probability. Someone mentioned that this time Eastwood is more face-facing in shaping the character image, whether it is the FBI or the unscrupulous media; I feel that this is actually not the point, after all, Eastwood is not Ken Lodge, he still has his "anti-heroic heroism" path, and finally Richard Jewell's eyes that "I have good intentions for the world and hope to be rewarded, that is what I am willing to do; but if I am mistakenly eaten by mediocre malice, I do not regret that I have repaid it" is also very important.
Martin Eden
Martin Eden
Director: Pietro Marcello
Writers: Jack London / Maurizio Bracci / Pietro Marcello
Starring: Luca Marinelli / Jessica Sisi / Vincenzo Nemolato / Marc Leonardi / Denise Satisco
Country/Region of Production: Italy / France / Germany
Languages: Italian / Neapolitan / French
Release date: 2019-09-02 (Venice Film Festival) / 2019-09-04 (Italy)
Viewing status: Chinese character resources are available
North American Media Metacritic: 57/100
French media Allócine: 4.1/5
IMDb: 7.0/10
Douban: 7.0/10
Deep focus score 75/100
83/100
Lost and Beautiful 2. Martin Eden, a hundred miles away, Jack London a hundred years ago, had a dream of a class revival far away in Naples. Descending from the divine nature to man, time and space are still intertwined, and suffering has become a miracle of asceticism in the world. Literature is a sad legend without an image, and the film is transformed into a temple in the fog of light and shadow flashing back to old film, enshrined in the beautiful illusion before the myth of globalization.
79/100
Jack London uses Martin Eden to write about his relationship with the times and the disillusionment of capital society; today, the new generation of Italian directors has moved him into an Italian language with unknown times to shoot, directly abandoning the restoration of the essence of history and the possibility of effective dialogue, and choosing a perspective position that is almost "out of the box". However, this adaptation method also has its own advantages, in terms of audiovisual grammar, especially the film as a historical archive of the image has become a witness to flashbacks and witnesses, bringing a strong sense of Mugu and hallucinogeny. In addition, the beautiful male protagonist performed very well, which magnified the deceptiveness of the film and made people think that it would be a masterpiece for a while. But the more the sense of form jumps out, the more the "exquisite mediocrity" is revealed - the historical archives are used "beautifully", but they are detached from historical reality, without real pulling, just like the farther and farther away in the last act.
64/100
Most of it is interesting in form, but in the vast ocean of materials, the narrative loses its most authentic meaning and becomes a display, which is generally "Transit".
Don't tell her
The Farewell
Director: Wang Ziyi
Writers: Wang Ziyi
Starring: Okafina / Ma Tai / Lin Xiaojie / Zhao Shuzhen / Lu Hong
Genre: Drama / Family
Country of Production: United States / Chinese mainland
Language: English / Mandarin Chinese / Japanese
Release Date: 2019-11-22 (Chinese mainland on demand) / 2020-01-10 (Chinese mainland) / 2019-01-25 (Sundance Film Festival) / 2019-07-12 (USA)
Runtime: 98 minutes
North American Media Metacritic: 89/100
French media Allócine: 3.3/5
IMDb: 7.7/10
Douban: 7.3/10
Deep focus score 67/100
Song Ke, a film research monk, prefers "Southeast Asia", writes amateurishly, shoots films, and does film festivals. Romance in life, loneliness in movies.
93/100
This is a very accurate, vivid and smooth film, although it tells a well-known cultural difference between the East and the West, but it brings out very personal things, it can be said that this is also a private film. Many "wild" unadorned pictures, such as the documentary shooting of natural people at the wedding scene and the display of the landscape of Changchun, record these things that will really happen like video diaries, revealing the essence of cinematic life. All the laughter, tears, poetics, and chemical reactions set against the backdrop of China's most traditional (backward) region, northeast China, and New York, the most developed capitalist country in the United States. Of course, this is not deliberate, everything comes from the director's own experience. The director also did not deliberately show the collision of cultures, in addition to the cultural differences between the East and the West, the director also explored the problem of how our generation deals with memories and concepts, as Billie said, "Our home in Beijing is gone... Grandma soon was gone too", and the memories that belonged to her were slowly disappearing. In addition, the music, art, and performance of the film are very good.
78/100
The uncoordinated casting and explanatory dialogue will shoot Changchun out of New York déjà vu, the creator's own experience, the market positioning of the work, and the identity characteristics of the narrative protagonist form this "Chinese" American film, most of the contradictory and conflicting ways of acting because of the foreign unfamiliar characteristics of the filmmakers are not very satisfactory to highlight the regional folklore recognition of the mainland, but are blurred in a general Asian context. But the unique cultural vision of the bystander's alienation and the blood ties of their own families in the body provides an extremely sharp and fresh focus for the whole film, and the emotions are absolutely sincere, even what our local creators have not observed and perceived for a long time.
Liu Erqian, a Hong Kong film researcher, Benjamin is the only main god
70/100
There are many detailed, humorous and even improvised passages, and there are also many curious, "cultural research" treatments. However, the latter is in line with the character setting, and with her experience and situation, the "deliberate" highlighting of cultural differences is almost inevitable. Slow motion, especially music, is too full and too widespread, although it is quite good in itself.
Whether it is the part that pays attention to cultural differences or the part of family affection, it is slightly simple and straightforward in the conception of handling details. But at least it's a heartfelt, touching film that understands what it's widely praised in the West. Okafina's performance is excellent, real and smooth, making people feel the emotional sense of each step of Billy's character, which is worth mentioning last year's female performance.
Films oriented towards fragmentation. Even with a very bad sermon on the other side, the side composed of Bi Li, Hao Hao and Aiko is still dexterous and cute, especially the role of Hao Hao, who is enough to show that the director has the potential to deal with more complete comedy.
Peter Cat, Editor-in-Chief of Deep Focus
62/100
From the level of narrative weaving skills, it is not only lackluster, but even quite poor, almost reduced to a cultural landscape scene after scene there is no lack of sincere but single poor display. The technical team looked back to make up a little, plus a more flattering theme, and the result was barely able to watch it. But the core creativity is really difficult to say that it is much better than the young Chinese directors, but when it is placed in the American industry, the chicken dog will soon ascend to heaven. In another five years, you can simply shake off the local director ten streets.
Hiuchi, a delvor of "The Taste of Saury"
60/100
A simple work, but the links between the fields are sometimes tight and sometimes loose, contrasting the vacancies that fill the activity of the mind. Propositionally close to Ang Lee's father trilogy (no wonder it is Ang Lee's best of the year), it is far superior to Ang Lee's Western-style standardized works because of the above (most likely unintentional willow insertion) effect. The "reality material" inserted at the end of the film, unlike other similar practices, really adds color to the film and becomes a new beginning for perceiving the whole film (no doubt more clever than the gyroscope of "Inception"), so that the audience almost at the end of the film, experience the complete stretch, more than the film's main body of the continuation.
#上期新片
Portrait of a burning woman
Portrait of the girl on fire
Director: Serene Sienma
Writers: Serene Sienma
Starring: Nomi Merante / Adella Harnell / Valeria Golino / Armand Bollanger / Luàna Bajrami
Genre: Drama / Romance / Same-Sex / History
Country/Region of Production: France
Language: French / Italian
Release date: 2019-05-19 (Festival de Cannes) / 2019-09-18 (France)
Runtime: 120 minutes
North American Media Metacritics: 74/100
French media Allócine: 4.0/5
IMDb: 8.3 /10
Douban: 8.7 /10
Deep focus score 72/100
Everything is modern, Sienma is the fourth woman outside the picture, responsible for fire and illusion, the viscosity inside and outside the lens is like a confession between film and painting, the portrait of a burning woman, the warm electric light flickering, and the last vivaldi receiving the delay, which is also the love.
The photographic art performances are all very good, but the overall is a bit good. But the impact of the two notions of love is still fascinating.
Song Remote, a master's degree student in film studies at Kyoto University, is a film lover
After the male gaze is hidden, desire flows freely between the painter and the model.
75/100
Adhering to Sianma's "clear" play, the film has nothing vague about it, but it does not encourage the audience to brush up. At the very least, I've lost the excitement of a brush when I brushed it second. However, the flashing woman in white, both a flash and a Fritz Lang-style charm (see "The House by the River"), aptly bringing together the choreographer's reinterpretation of the story of Orffy and Eurydice, to illustrate this doomed short love affair and eternal memories. In any case, the film does produce several impressive scenes, especially the chanting party that presents the title. However, the thought that this film can achieve such a pure female film situation (not that women are self-conscious; this part is indeed quite a lot) is still very encouraging.
Peter Cat, Editor-in-Chief of Deep Focus
73/100
I don't think a film without a male gaze would be a female film, just as a world without men is not feminist. The film's certain closure and narrowness not only limit the further fermentation of emotions in it, but also limit a certain viewing (point of view) to the surface. And it had such a precise visual design. Adele's modern body and aging face also greatly fade the charm of the film. Of course, the last sentence, I don't know if it is already a kind of annoying male gaze?
lighthouse
The Lighthouse
Director: Robert Eggers
Writers: Max Eggers / Robert Eggers
Starring: William Dafoe / Robert Pattinson / Valeria Karaman
Genre: Thriller / Horror
Country/Region of Production: Canada / UNITED States / Brazil
Release Date: 2019-05-19 (Cannes Film Festival) / 2019-09-07 (Toronto Film Festival) / 2019-11-01 (USA)
Runtime: 109 minutes
North American Media Metacritic: 83/100
French media Allócine: 3.5/5
IMDb: 8.0/10
Douban: 7.5/10
95/100
Liked far more than "The Witch", Eggers created a new and closed "regional folklore" genre system, such as Lovecraft's mythological literary architecture, video art will accept more strange legends and anthropological history from New England and even the corners of the world, and most importantly, the film is no longer a global language, and the communication barriers that return to communication barriers produce mysterious and terrifying attributes, the most primitive metaphysical transcendent trembling, terrifying transmission and dissemination. It was all instinctive perception of the animals that could not speak, the signals of the demons in the fire of St. Elmo at the top of the tower, tempting the later creators who were eager to try, and on the reef that had been washed by the wind and rain, four names were engraved: Stanley Kubrick, Carl Theodore Dreyer, Andre Zulaski, and Ingmar Bergman.
87/100
An extremely exciting but confusing movie-going experience. Eggers almost completely emptied time and space, transforming a land of sea and land into a chaotic and chaotic foreign land, and the body was the only protagonist on this stage. The interplay of sexuality, violence, law, and the horrors of God's imagery is accompanied by haunting ambient sounds, so that the master-slave struggle game between Dafoe and Pattinson always retains the charming suspense of complete destruction; the deliberate retro literary lines add to the character's showmanship, which makes the already precarious character relationship more unpredictable. What exactly did Pattinson see in the end? Is Dafoe defending the authority of the Father or some kind of glare of truth that ordinary people cannot bear? Is this truth nothing? No way of knowing. In the face of a film that may require a great deal of knowledge of psychoanalysis and the history of Western thought (especially Christianity) to decipher, the above is probably all wrong.
Song Remote, a master's degree student in film studies at Kyoto University, is a film lover
Retro performances, texts and video styles, even if layers of metaphors are discarded, will be deeply fascinated by the rich historical atmosphere. Eggers and his New England Folklore series are arguably one of the most anticipated creations of the next decade.
The opening six minutes of no lines, with the language of the camera, people think that they are going to imitate the silent film throughout the whole process, and the fan can be described as extremely high, and I really did not expect that there were so many noisy lines to shout after that. It is a film with a very good concept: the play uses the classic "Blizzard Mountain" routine, mind control + mysticism as the condiment; the audiovisual and performance show a strong Mugu complex, David Lynch and Kubrick also occasionally come to possess, and the whole time they hold. But it always feels like it's on the way, every time it chooses before the fork in the road, it is "not my cup of tea", more and more sliding towards a "stage drama movie", and that kind of "making a movie for the sake of making a movie" movie, compared with "The Witch". However, the two male actors are really too strong, William Dafoe is not at all like the actors living in this century, the retro of his skills, saying that this is from the performance of 60 years ago is not too much; Pattinson in "Good Time" and "Space Life" after the crazy to the extreme, people look like they are related, but in the "ancient meaning" is still lacking compared to Dafoe.
Prefer "The Witch" a bit. But Eggers' series of New England Folk Tales has gradually entered a better place. "Lighthouse" can also better position Eggers's overall creative intentions, re-correcting many people's mispositioning of "Witch". In the end, horror and horror are just the audiovisual elements of his folk legends, and they are far from constituting a specific type.
Not as good as "The Witch", but it is admirable to be able to make such a completely heterogeneous film in the Hollywood business system that is completely different from the current era
#濒临下榜
Tall
Dylda (2019)
Director: Kontemir Balagov
Writers: Kangemil Balagov / Alexander Trekhov
Starring: Victoria Miroshnichenko / Vasilisa Perelygina
Country/Region of Production: Russia
Language: Russian
Runtime: 134 minutes
North American Media Metacritics: 81/100
French media Allócine: 3.6/5
IMDb: 7.2 /10
Douban: 7.6 /10
Deep focus rating 79 /100
The secretary of the round head, the editor-in-chief of deep focus
If Baragov's first work is closer to his own and his hometown experience, this one is closer to the spiritual teacher Sokolov, the two films seem to be completely different, but together lead to a place, that is, women. With this sharp weapon, he pierces the social-historical narrative that people are accustomed to, and the complexity and sting involved in it make it hard to believe that a director in '91 can have such a brilliant insight. "The Tall" is a work of a true thinker, but also a real video work, which is terrifying.
85/100
Green and red, vitality and affection, testing cruel exploitation, sacrifice, hatred and love under the collapsed sky, feeding the illusion of hope destined to die, the two colors also outline the totem of the huge machine, reflecting the reality of victory and revitalization under the ants, guarding each other's lies to share the warm current of self-deception and charity, knowing that there is no hope, choking and embracing, the painful "mother", the tall and thin woman, smiling bitterly and suffocating in the withered sea of people, this picture seems to come from the fantasy world, but her laughter and tears, But it is the temperature of the last watch of the land in front of you.
Flower land
72/100
Heterogeneous, incongruous character states and tones form a superficial tone, the sense of form maintains its distorted character behavior to operate, and the distortion of the character appears through the state before the narrative, and then shakes off in the text to reveal the character's traumatic prehistory, making the established pathological tone "reversal" a metaphor for war trauma. However, the image does not become a metaphorical body, but wanders outside the character, and its "refinement" is the immorality of the image.
67/100
Compared with the previous game, the frequency of action is greatly reduced, such as from "Roadside Picnic" to "The Last Night of the Earth", falling into a stagnant pit, and watching is all maintained by the director's aesthetic.
If only I could ride the waves with you
When You and I Get on the Waves (2019)
Director: Masaaki Yuasa
Writers: Reiko Yoshida
Starring: Ryota Katayoshi / Rina Kawaei / Hotaru Matsumoto
Genre: Romance / Animation / Fantasy
Country/Region of Production: Japan
Language: Japanese
Release: 2019-12-07(Chinese mainland) / 2019-06-21 (Japan)
Runtime: 96 minutes
Viewing status: In the theater
North American Media Metacritics: -/100
French media Allócine: - / 5
IMDb: 6.9/10
Douban: 7.1/10
Deep focus score 70/100
65/100
Maybe I asked for it too low & the touch threshold was too low, and I thought it was pretty good. Although it still follows the homogenization elements of the previous "Song of Dew", and it is also an overly rounded and safe story, for Yuasa is just a "fast moving consumer" that completely wastes his talent; however, this film is really quite suitable for my taste. From sweet → pain→ sadomasochism→ relief, the four-step walk is very simple in structure, but it is to attract people's hearts. A lot of "The Shape of Water" style of romantic fantasy, the use of "water" elements in the middle and back section is always refreshing (that song is also very brainwashing). It belongs to a "Christmas movie" that is even a little bad, but it is really enjoyable to watch on the weekend, and it is also very suitable.
Guang Shiyuan, Douban famous net yellow
Pure love film works with high sugar content. The simple plot, the love songs that are repeatedly sung seem to be no longer as exquisite and advanced as Masaaki Yuasa's old works; but he gives the characters full of emotion, a delicate inner world, extends the thinking of love to the theme of growth, and outputs the correct love values to the audience: even if they can't work together, they can step on the highest wave of life together. The image of Minato and Nichiko can refer to the painting style in "Demon Man"; and the water element makes up for the slightly delicate touch of "Song of Dew", making people truly feel "like a river of love". Just like Yun Tianming gave Cheng Xin a star, Hong Kong gave a piece of the sea to Nichiko, and this courage and romance are eternal.
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