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List of winter tablets
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Preface
The four seasons of the film list to the end of the year, it is inevitable to have a little chicken rib feeling, feel that it is a bland almost invisible topic, the time is up, it will be sent out to make up the number, it may also be that in the winter, people's hearts also snow, it is easy to move towards this kind of passive resistance of the idea. In fact, I was not a person with too keen perception, and I felt that the four seasons of day and night were not bad, but looking back at the preface of the first three issues, it seemed to be heartfelt. If you remember, of course I don't think you remember, in the first few season lists, I always started with the difference between north and south, although it was to be lazy, it was not so annoying, so I continued to be lazy.
In fact, there is no winter in the subtropics of eighteen years, and there is a Spring Festival temperature of 25 degrees, so I wear a summer skirt to go out, and passers-by wearing red down jackets on the street look at me. Even at 25 degrees, people are taking winter seriously. As for the later arrival in the north, the three seasons are winter, and the surprise of the southern classmates to see the snow is no less than the surprise of the northerners seeing the cockroaches in the south, the road is frozen, the grass is snowy, the winter solstice eats dumplings (instead of tangyuan), the fingers are very painful, and the winter seems to have a sense of ceremony. Presumably, people who have crossed long latitudes like me will feel more than I do.
In the 8 films selected this time, the winter is serious and generous, and I have not been able to see the cold southern "magic attack" that I am accustomed to, perhaps because the snow is more atmospheric. This time, three authors invariably chose the Chinese films "Postman", "Seafood" and "Winter Vacation", which are rarely seen in the first three seasons, they are relatively unknown, and I have to feel that there seems to be a bit of fatalism behind this, but I have always felt that in the white snow, Asian faces look more harmonious, I don't know why.
Although most of the eight films about winter this time did not escape the clichés of each season, it was cold and mournful, and I was also wondering, in the festive atmosphere where everyone says I love you, people would rather see a list of films that begin with "True Love First"?
But because it's so cold, we're too lazy to prepare (don't believe it.)
So I will give you a list of winter tablets, like the cold feet of an anemic person at night. Winter is the season with the lowest sense of cruelty in the four seasons, not because winter goes to spring, but because of the numbness that does not bring praise and depreciation, the simple vacuum, the sense of time dissipates, there is a sense of eternity that has been missing for a long time, I think so. For winter, for these eight films, or for these four films, I don't know what you think, welcome to share with us in the comments section. December is coming to an end, thank you and deep focus through the four seasons together, the next year may, we started from the beginning. Che Xiaoye (Changchun)
Season-themed film list review:
This spring, it is astringent enough to be restless enough to be free
Summer can never come, or it can never end – as long as you want!
The story of autumn
Winter light Nattvardsgästerna
Ingmar Bergman
Text | Dong Feiyu (Chengdu)
Winter's Day, The Stump of Light, the Tranquility Of the River, "Winter Light" begins with a glimpse of the church meeting and the exterior. The gesture of most congregations has shown that this village Sunday worship has degenerated into a mechanical, stylized gathering. The ministry taught in Romans is "fiery in the heart," but the flame of faith is already dying. After the meeting, the desperate fisherman found the priest who was also in a crisis of faith, and he was so desperate that he could not speak, and his wife told him the cause of despair: China is about to build the atomic bomb, where is God? Fifty-four years after the film's release, at the moment when North Korea's sixth nuclear test explosion is completed, if the believers in the film can survive to the future, they will find that the future is still the abyss of silence. In the film, he chooses to walk out of the church and shoot at the river to end the future.
Although winter is cold, there is always sunshine. But this light is used by Bergman to "create" high-contrast pictures, dazzling and tragic. The priest's body was fiery (the torture of a high fever) and his speech was weak and weak. Coupled with careful, precise sound control, the camera uses a large number of close-ups that Bergman prides himself on in his autobiography to gaze at changes in the actor's facial expressions. To say only that the eye is the window of the mind undoubtedly ignores the "synergy" formed by the combination of other organs of the face. Rudolf Arnheim, in Art and Visual Perception, states that "the facial features are related to space... But the thoughts, feelings and intentions that we see from facial expressions are not a spatial phenomenon, they appear vivid and vivid, as if they are beyond space, which is the psychological effect of facial expressions. Bergman continues to visually express the extraordinary magic of his characters' faces with this image. We can also see the winter day when the faith is tortured and decayed, and the extreme cold of the character's heart is frozen three feet.
The movie is still full of practical significance when it is put into viewing this winter. In the 1940s, nearly 30 percent of Pyongyang's adult population was Christian, and missionaries once called it the "Jerusalem of the Far East." If the fisherman survives until now, the line will become: North Korea has an atomic bomb, where is God?
The story of winter Conte d'hiver
Eric Houmai
Text | Yu Chunjiao (Beijing)
Watching Winter's Tales may experience a loss, coming from a disapproval of What Felicity calls "waiting." Her favorite is Charler, who has lost touch because she wrote the wrong contact information, because of this love she raised their daughter alone, she insists on Charle's place in her heart, while simultaneously circling between two men who love him. In the end, she decided to leave the two men, but accidentally met Charles on the bus.
If the process of waiting is a little more thorough, then the encounter can be called a praise. From Felicity's standpoint, she believed in true love with Charles, not in her reunion with him. Before saying goodbye to Louie, she said that reincarnation is the evolution of the soul through the experience of each body, so she may want to evolve by trying to love the men. Finally freed from the love for Charler.
Hou Mai's films are not short of such self-indulgent death characters, who rely on their subconscious sense of superiority, cocoon with selfish desires, bind themselves to various choices, and create victim identities for them unnecessary difficulties. The reason why Hou Mai is Hou Mai is not only the object of his performance, but also the way he behaves. "Maybe there is no story", this typical treatment of weakening dramatic conflict, successfully avoids the author's moral judgment of the characters.
Even if many people get a bowl of chicken soup that they insist on waiting for because of Felicity and Charles's encounter on the bus, that may not be the real intention of the film's authors. In fact, the story of winter is still an open-ended ending, and their reunion does not usher in any kind of affirmation. This implements Houmai's attitude towards film and reality: stories and coincidences are real, but the ending is not. Every moment in his film is equal, part of a series of random events, there is no strict sense of the word, there is no turnaround or dust settled, change happens at any time, and life does not end with the end of the film.
Interestingly, different audiences react differently to the same contradictory character, and different understandings of the same twists and turns, also achieve the effect that the director expects. I don't agree with Felicia, but I don't feel unfair because it seems to me that she is not happy and eliminates my desire for her moral judgment.
What is the difference between this winter and last year's, and what are the accidents in the winter of the fifth year? The winter, which cannot be said to be the end or the beginning, is an appropriate expression of Houmai's polyeticism.
Postman
He Jianjun
Text | Li Xiaofei (Nanjing)
In the highly condensed and almost stagnant space, the angry thin poet faced by the postman is obviously immersed in a crazy and agitated vortex of consciousness, and when the surreal imaginary world constructed by the huge and complex "language flow" is gradually stripped of the original and rough truth of life with the movement of the camera, director He Jianjun obviously constructs a light and shadow magic with the help of the image node of "condensation as the end" - when the camera simulates the thin poet's vision to look back at the position of the postman, there is already no one in the four places. Only a dusky afternoon of light and shadow slowly wanders on the decadent and dilapidated walls, and the highly documentary image re-takes us back in this almost dreamlike magic of light and shadow back to a dull but restless winter in the city of Beijing in the 90s, a time and space that is about to encounter a transition between rewriting and restatment at the time when the mainstream ideology is about to break.
An important fact is that the film always follows the rigid and rigid posture of the postman through the streets of the city, and gives a deep and resentful complex to re-examine the weak social form after the ebb and flow of the red current, and all the swelling and distorted personal correspondence of this tight winter have become the social codes of the era of the early decline of the market economy - sexual anxiety, drug addiction, homosexuality, masturbation, voyeurism... These tumors hidden in the depths of the social fabric are the obscure manifestations of contemporary urban subculture, and the huge lust and identity anxiety torn apart in them are not just an individual debt wrapped in private letters, but also the false projection of the collective unconsciousness of contemporary China when it entered the market economic system in the 1990s and once encountered "market battles" (economic soft landing, three rural problems, layoffs).
Therefore, the specific temporal and spatial meaning of "winter" has also been extended in the documentary images of the 1990s with a richer and more real meaning—China in the period of historical rupture has encountered a comprehensive "cold winter", and a cool display of a social discrete state under the predicament of mainstream ideology has not yet been fully converged and integrated. If one compares the full and fiery red vibrancy of "Sunny Days", which belonged to the "summer" of the same period, then the "winter" in "Postman" reflects a specific symptom of consciousness criticism - the documentary filmmakers, rock bands and avant-garde drama actors who were "underground" at that time were full of strong reflexivity in their nostalgia for the eager "sunny days".
If the rift in the authoritarian society of centralized authoritarianism in the 50s and 70s provided them with an enlightenment full of revolutionary romantic feelings and heroism for their growth, then the economic monopoly system and privatization trend constructed by the market-oriented strategy since the 1990s clearly completed the practice of legitimizing itself in the outright veto of "left-wing culture", which precisely exacerbated the marginal crisis of this group of "new new human beings", and the elitist discourse of the 80s was replaced and monopolized by the power of capital. What they have lost is not only the vitality of re-encountering the criticism of the times, but also the position of the class that was once at the top of the reform era. Therefore, He Jianjun's re-entry into society with the help of the image of the "postman" in the uniform and performing public duties will inevitably produce a great dislocation of identity, and the once empty subject position will continue to fall in the voyeurism of desire.
Fresh
Zhu Wen
Text | Tang Brigade (Jiaxing)
Born as a writer and poet, Zhu Wen's films are born with that independent and ethereal temperament. His independent film Seafood, which he made in 2001, was inadvertently released fourteen years later. Although my ideal winter should be a scene full of human feelings and warmth in the "NHK Documentary 72 Hour Japanese Convenience Store", it is still connected with the cold and depressed for various reasons. The winter in "Seafood" is cold and cold, and under the presentation of dv's inferior picture quality, it also carries a feeling of lovelessness in the barren environment of northern China. Xiaomei, a prostitute who fled from Beijing to Beidaihe and felt meaningless about her life, prepared to commit suicide by swallowing medicine, but was investigated by the police Xiao Deng for committing suicide by a poet who lived in a hotel with her. In the investigation, Xiao Deng discovered her suicide attempt, and then raped her due to emptiness, forcibly took her to eat seafood and visit Beidaihe, and when the two were hazy and ambiguous, he was shot by Xiaomei in a joke.
Zhang Neixian used Chongqing Meimei to tell a movie story, and Zhu Wen used Beidaihe Xiaomei to wander a movie. The northern winter in "Seafood" reveals the meaninglessness of life everywhere, and this geographicality is even more unique in the local Chinese context. It and other cold regions are characterized by being sparsely populated due to excessive cold. Activities in public spaces are cut off, human communication is thinner and thinner, people are more inclined to be alone in private spaces, and environmental repression has an impact on the spirit. Like the later "Night Train" and "Daytime Fireworks", the environment is cold and no one communicates, and the characters become more and more depressed. This repression differs from the Nordic regions, such as Jean-Nadirman, The Virgin Mountain, and so on. The Nordic context of the welfare state is another problem of spiritual loneliness in the context of political and economic relations. The country (especially the beginning of the century in "Seafood") is mixed with the rupture of the upheaval of the times, complex and confused.
However, the identity of prostitutes and policemen is not closed to self-immorality in the traditional domestic literary and artistic paradigm, and the focus is not on reflecting the material aspects of society. Zhu Wen's "Seafood" is more like psychological realism. The motive of the prostitute Xiaomei's suicide is actually not shown in the film, and the suicide presented without motivation is more like an existential crisis, just like the poet who does not explain the cause of death at the beginning of the film, which is a spiritual dissipation. After shooting and killing the policeman, Xiaomei returned to the professional house without changing her color, helped her colleagues take out the fake money of the lower body and used it secretly. Loose and colorless, Xiaomei is more like a spiritual ethereal. Policeman Xiao Deng's sexual/mental repression drives his "persuasion" behavior, and the pleasure of conquering women alleviates the bitterness of being bullied and oppressed in his daily life. The oppression of power in the dual identities of "policeman" and "man" fills the empty heart, ending his life from the appearance and the complacency, causing him to die from the bullet that he never believed he would fire.
Warm interior contains light Eternal Sunshine of the Spotless Mind
Michelle Gundry
Text | 10(Beijing)
If you want to recommend this movie, you probably have to start with the title.
This time it was four years after re-watching Eternal Sunshine of the Spotless Mind, and I inadvertently learned that its most accurate Chinese name turned out to be ambiguous (ai) ambiguous containing light, rather than nuan (nuan) warm containing light, which was undoubtedly a huge blow to me who had studied Chinese subjects in college for four years.
Ambiguous contains light, from the Eastern Han Dynasty Cui Yao poem "Motto", "In nirvana is not stubborn, ambiguous contains light".
In the vernacular, it is said, "The surface is dim and unclear, but the inside contains light." Such an understanding is very compatible with the theme that the film wants to convey. In addition, compared with the Hong Kong translation of the title "Painless Lost Love" and the Taiwanese translation of the title "Ace Of Grievances", the mainland translation is a little more poetic.
Psychedelic, confused, divided, and beautiful, this is probably the first impression of this film. After watching the film, there will naturally be some new inspiration and thinking about feelings. In the film, Joe's approach is to pull the Clem in the memory, open up a new memory, create a new dream, create a new scene, and the relationship will be renewed. In relationships between the sexes, people often have bad memories deeply rooted in the brain, and in reality, we are sometimes as stupid as the people in the film: we only react when the final memory is dying, it turns out that I have so many good memories of thieves, no, I have to quickly save the relationship. But it was too late.
My favorite part, I'll simply summarize it as "the old school next door stole my wife". Patrick (the identity stealer) takes advantage of his close friendship with Joe (the stolen identity), takes advantage of the fact that Clem loses some of Patrick's memory, changes his appearance, imitates Joe, becomes Joe, and sneaks into Clem's inner world. But P knows that in this emotional relationship, he will always be a bunch of wolves in sheep's clothing, and the price of love is to constantly disguise, deceive friends, and lose himself. Director Michel Gondry talked about friendship in a philosophical tone, on the basis of discussing love. It seems that the term "plastic friendship" was proposed more than a decade ago.
Although the temperament of the whole film is very winter, I can also say: "It is too suitable to watch this movie in winter", whether it is J and C's honeymoon, the two people are lying on the ice, or Clem's blue hair; or the "new location" chosen by the two people, all of them are full of chills, and even the color of the characters is low saturation. But just like the rhythm of the whole film, what we are obsessed with is not winter itself, but after being lost, waking up, and finally escaping, and finding a breakthrough point for the relationship, the same - the meaning of life is to find and change, I love winter, because it gives me calm, I am in the season of thinking, by the way, looking forward to life.
If only, I could meet someone new.
Clean Clean
Olivier Assayas
Text | Chu Qiao (Chengdu)
Looking at Assayas's Cleaning after Mia Hansen-Love's Garden of Eden (2014), the two are not really similar, and it seems to me that they form an echo in the distance of ten years apart.
Lee and Emily (Maggie Cheung) are also musicians, the former being a soon-to-be-forgotten rock star and the latter being the host of a once-glorious TV music show. Their deep dependence on drugs both eats into the relationship while morbidly temporarily holding Emily and Lee together. Lee has a musical talent but his career is uncertain, and friends around him believe that the reason why he is imprisoned in the curse of not meeting with talent, Emily bears a certain responsibility, and Lee's unexpected death, Emily suffered a sudden blow. She is about to face how to regain her son's trust, and how to rebuild her life in the white ruins - a clean life free from drugs.
The choice of musicians as the setting of the story is related to Assayas' experience, coinciding with Assayas's youth in the seventies when the rock and roll style took shape. Mia Hansen-Love's "Garden of Eden" is set in the electronic music era marked by "Daft Punk", and the script was written by Mia and her brother Sven, who was a well-known DJ in the 1990s, making the story of "Ey" also bear the imprint of retrospective memories. Both "Clean" and "The Garden of Eden" have influences from the growing years of the two directors, and although Asayas and Mia separated in 2016 (according to IMDB), it is actually interesting to put the two films together: both focus on musicians who have been up and down in different eras, who are nostalgic, drug-dependent, self-exiled and rebuild their lives.
Maggie Cheung won best actress in Cannes that year with her performance in "Cleaning", and Asayas brushed past the Palme d'Or, and the discussion about the film revolved more around Maggie Cheung's performance; of course, this is beyond doubt, and the emotional tone created by Asayas impressed me very much. "Clean" involves winter in three places: Vancouver, London and Paris, and the whole film is basically cold, except for Emily's red scarf and orange cold hat. Take this passage in Vancouver, for example: After the two argue, Emily drives away from the motel, and the suffocating warm light scene quickly switches to vancouver's freezing night. Her way of escaping the reality of self-loathing and helplessness was to park her car at the port and give a shot at the vein in her arm.
The camera is vaguely aimed at half of Amy's face, she bites the rubber tube that helps her arm, and in the dim light, the red color of the lips appears more dazzling; the close-up of the face is a close-up of the hand, also embellished with scarlet nails; the camera switches to a bystander perspective again, looking at the entire harbor on the opposite bank from behind the car, and the red headlights are scattered in the industrial area where the cut screen is cut off, flickering slightly. Scattered clusters of light fell in the middle of this row of tower cranes and cement jungle, until a roaring fire in the distance finally broke the dead silence in the night, roaring and shining on the lifeless winter.
The next morning's raindrops woke her up, like an ostrich sticking out of the fleeing dunes, and Emily looked again at the harbor, the world across from her as usual. What awaits her is how to survive this harsh winter and how to return to a clean life.
Winter break
Li Hongqi
Text | Songke (Beijing)
As a northerner, when it comes to winter, I have to think of Li Hongqi. In China's independent film circle, Li Hongqi has always been a legendary figure with a unique style and stability. His images are as quiet and solemn as winter, slow-moving figures, and eloquent dialogue, like a poet recounting life. "Winter Vacation" is the first work I watched, and I feel that I have returned to the northeast town where I live, and I have returned to my former winter vacation. The film is nerve-wracking, nothing happens, and it tells a lot of things, like countless long winter vacations when I was growing up. In 2010, "Winter Break" won the highest prize at the 63rd Locarno International Film Festival, the Leopard Award and the Film Critics' Award, and in 2011, "Winter Break" also won the KNF Journalist Award at the Rotterdam Film Festival.
Li Hongqi is a student of oil painting, which can be well reflected in the composition of his film picture. The first scene of Winter Break is a typical icon of a lonely northern town — a low factory building is an abandoned ballroom with a telephone pole in the center of the picture and a blue-and-white chimney in the back. The prospect is the venue for a group of idle northern teenagers to appear and dialogue, and the voiceover faintly hears the horn of "international brand, manufacturer direct sales". The second picture is the red brick building in the north, not high, about five floors, and now there are many such buildings in my hometown, but they are being renovated over and over again. A pedestrian came on the road, and one of the boys shouted "Dad", such an absurd scene is actually common in small towns, and Li Hongqi used the first two paragraphs to deconstruct the cold town life in the northern winter. After that, one fixed shot after another, one oil painting after another (the dialogue is edited in a way that is a bit like Ozu) deconstructs the film and reality.
The movie "Winter Vacation" is actually anti-film, all the actors say the absurd dialogue of "Lee Hongqi style" on the basis of life, which has a lot of humorous and philosophical words, they and the actors together constitute the entire imaginary north, and the typicality of the characters is like the Nordic under the lens of Aki Korismachi. "What do you want to be when you grow up?" "I want to be an orphan." "Why did Mom and Dad look at us like that?" "Because they feel happy." These lines are spoken in roles that do not fit the age identity, and Li Hongqi's actors are like the "models" that Eisenstein talked about, giving the impression that this is a forged fable.
Hibernation Kış Uykusu
Nuri Bige Ceylon
Text | Dian Min (a coordinate that is temporarily blank)
Originally inspired by Chekhov's short story, chekhov is positioned as a "Family Drama," and the title of "Hibernation" is one of the film's remaining mysteries. First, the word "hibernation" implies the spatial relationship between indoor and outdoor, and indoor and outdoor are linked to the corresponding family ethical relationship. Therefore, the spatial level of going outside and returning to the indoor and ethical level of the family and the return to the family are entangled with the returning family, such as Aiden spying on his wife's fundraising party outside the house, such as Nihar visiting the tenant after Aiden leaves home (the scene where Aiden and the tenant negotiate at the beginning of the film takes place in the outdoor vestibule, which is the first time in the film to show the interior of the rented room), so the conclusion that "'hibernation' is related to family relations" should be reasonable.
Second, the concept of "hibernation" extends from animals, and at the "signifier" level of the film, there are close-ups of groups of animals that overflow beyond the narrative—horses galloping to freedom in the snow, dogs falling by railroad tracks, rabbits twitching in the snow that Aiden shoots, which seem to serve as a set of metaphors, if the From the perspective of hibernation, this set of metaphors does not focus on the relationship between humans and animals, or between the strong and the weak (in the case of horses and rabbits and Aiden is the ruler of their destiny), but on the choice of Aiden for his own life from the animal allusion, more precisely, how to make choices in the cold winter.
Third, there is no doubt that "hibernation" refers not to the physical but to the state of mind. When Aiden and Nihar, who seem very different but are actually the same self-centered "ism", are stabbed separately, they both choose to retract back to the warm "castle", "winter" can be interpreted as class hatred, bitter meanness between families, or a cage woven for themselves by arrogance and arrogance, and more importantly, how to act under the sting when "winter" comes. When Aiden typed the title of "History of Turkish Theatre," the real "hibernation" had just begun. But what is slightly criticized is that Aiden's return to the family with the expression of love makes the film's already subtle satire even more ambiguous.
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