"Spring Tide" is a heart-palpitating spectator

All the following titles are based on "Guo Jianbo", and it is also possible that I subconsciously wrote this article from Guo Jianbo's position.

"Mother" refers to: Grandma "Ji Minglan" played by Jin Yanling

"Daughter" refers to: "Guo Jianbo" played by Hao Lei (40 years old)

"Little daughter" refers to: Qu Junxi "Guo Wanting" (9 years old)

In fact, the story generally takes place in 8-9 days, not necessarily a coherent 8 days, but every day there are rich and more dramatic conflicts, but also through the relationship between these three generations, the relationship between the family and the people around them, forming a puzzle-like structure, piecing together the past and present of the family and the appearance of each person. Therefore, this article is also jigsaw puzzle, and it is also found that it is so talkative while writing.

1. Why can you be a "good grandmother" but not a "good mother"

In many comments, it is impossible to understand why the mother "does not act as a mother" - if it happens to be a little life experience may be easier to understand, some people will transfer their hatred for the spouse to the child born to the spouse, thinking that the child is a drag on herself, and the birth of the child becomes a critical blow to her by the fate of her struggle and the combination of hostile men. And it is speculated that Ji Minglan's mother has a certain tendency to be "cold"; and when her daughter comes to "menstruation", the mother's cold and even counter-common sense reaction hints at her "misogyny".

Interestingly, this "inaction" is often self-aware: the mother considers herself a "self-sacrificing" person: "Give them all the fine grains to eat, and send their own little rations to the uncomprehensive mother". The more bitter people are, the more difficult it is for them to exchange emotional difficulties for others for some balance while materially difficult for themselves.

Jin Yanling's grandmother sometimes reminds me of Kiki Shirin.

2. Rashomon: "Rogue" or "Perfect Father"

The most interesting part of the film is the polysemy of history, you don't know if what the mother says is true or what the daughter says is true. Is Rashomon, who has the true image of his father, a "rogue" in his mother's mouth or a "perfect father" in Guo Jianbo's mouth? In fact, it has long been drowned in the ordinary life of the contemporary era.

In fact, they may say that they are all true. And whether the "perfect" father has his own motives for committing the "hooligan" behavior that his mother despises - the mother said to Lao Zhou in front of the "cave room": "The main reason for divorce is to be tired of that kind of thing." The daughter thinks that her father is a "gentle, benevolent, and good-tempered" person, is this personality so that his "conjugal life" cannot be satisfied, the father is emotionally tortured and repressed in life, is it out of such a dilemma, whether it is inside and outside the family, his bitter emotions have no cathartic channels, so that he can do "hooligan" things?! There is no intention of harshly condemning the mother, and we also do not know her true situation. This polysomy is worth playing.

3. Guo Jianbo's last monologue is actually very critical.

His father is an extremely unbearable image throughout the film, and Guo Jianbo only weakly defended him once: "Temper is very good", and then stopped talking when questioned by his mother. Through the monologue, we suddenly learn a very different side of our father, and more importantly, we know that our mother may be lying—she "must marry a city man" in order to change her fate, and in order to leave him, she constantly writes whistleblower letters. We have more or less understood that in such a chaotic world, the fabrication in "whistleblowing" can be unimaginably vicious, and whistleblowing is a kind of unscrupulous cruelty.

4. The ventilator stopped.

I don't know if you have noticed that before Guo Jianbo's monologue began, the ventilator that was constantly noisy when wiping his hands and feet had stopped, and the electrocardiogram was also turned off. So, this was not an ordinary night of care, but her final judgment on her mother—her mother's accusation against her father could be a complete lie—she had lied all her life, and when she was old, she told her neighbors and friends and to Lao Zhou over and over again, so fluent and emotional that she believed it herself—and her mother used the immeasurable power of gossip violence.

It was a sentence that Guo Jianbo had edited all his life in his heart, and she had repeated it thousands of times, and she must give it to her at the last opportunity that her mother might hear.

If you don't notice this, it is easy to think that these words are a bit pretentious and verbose, right?!

In fact, the pitiful thing is that she did not say these words "in person", she looked at the city that had quieted down with her mother, only to face the "reflection" of her mother over the city, and her mother was immersed in a superficial, false peace, and it was rare to "patiently" listen to her true thoughts.

This kind of "inability to face it" may have the instinctive fear of pulling out the ventilator, and there may also be a kind of self-blame - the mother used the young her to increase the "chips" when she reported, and she chose to obey, so she became an accomplice to the mother's persecution of her father in a certain sense.

The big fight against the animal teacher can see Guo Jianbo's sense of justice, and at the same time, she can also see that she is jealous and hateful of this kind of dependence on patriarchy to harm minors, she cannot tolerate the trampling of patriarchy, and cannot tolerate the beast's crime with the reason of love, so such a person, you can largely trust her judgment of her father.

And the daughter's biggest punishment for her mother is definitely not to use a ventilator, but to let herself suffer, so that all the curses her mother has fulfilled, she just does not want to find a man to live well, this self-destruction is as cruel and lasting as a long death, especially cruel.

The rich details and intentions of the film are enough, so let's comb through it together:

1. Bury things twice:

(1) The younger daughter gave the Buddha statue to Guo Jianbo, who buried it in the flowerpot at the door, and at first she was a little confused about the plot design. Soon it was found that there was a later text: the flowers bloomed;

(2) The tone is like Zhu Yidan's development zone director, scared away by the text message, Hao Lei menacingly opened the fruit basket, took out a large grape and ate it without washing, and buried the grape seed in the flowerpot in front of him.

——This small action of burying things with her hands makes Hao Lei's character image more vivid and innocent, she is not just such a sharp and tough woman. The intimacy of the soil and the action of burying know that it is impossible to grow, but it still carries a certain reproductive instinct and the meaning of expectation for the unknown beauty.

Subtle small movements

2. Water appears everywhere in the film

Tears are one, and there are many important scenes about water:

(1) The mother asked the choir team to rehearse at home, and Guo Jianbo deliberately broke the water pipe and "flooded the golden mountain" to drive away outsiders.

(2) In the first bath of the film when she went on a date with her lover, the lover played by Huang Shanghe patiently sprayed the foam on her legs, full of lust.

(3) Accompanied the mother to scatter the ashes of Aunt Wang and his wife into the river, the water became a helpless destination, and the mother even decided to have such a "sprinkle" after her death. And the woman in red washes her hair in the river.

(4) Hao Lei shed a lot of tears, but the only time she cried was when her mother suddenly exposed her granddaughter's lies about her father, and Hao Lei was caught off guard, destroying her daughter's trust in her, which was what she valued most. At this time, instead of comforting her daughter or explaining, she came to the kitchen and hit the faucet to the maximum, and the huge sound of water pouring down, and they could not hear the cries inside so that they could not hear themselves.

(5) After Hao Lei makes love to the masseuse, water flashes out of the crack in the door (this rhythm is enough to make people think about it). This may be the first time she has loved someone without burden, so that "spring tide" melted the glacier in her body for many years, flowing into the dream, into the reality of everyone involved (interestingly, the choir sang the song: "Wherever I go, a hymn flows out", echoing the flowing picture).

(6) Final picture: The little daughter follows this living water into the river, as if returning to the womb - recalling that before she was in Hao Lei's bed, the mother-daughter couple's warm conversation about fertility can be seen that this interpretation is not excessive: "What am I doing in your belly?" "You're in my belly... Naughty"—she's just so naughty.

Water is a common intention to describe women, and the film also gives a lot of space and a lot of room for interpretation, I like these designs, both popular and not vulgar.

3. "The Happiness of Replication":

The selection of poetry recitation in the class, as a "school bully", Wanting was naturally selected, and others - especially the fat boy who actively refused to become the same as Cui Yingzi in front of the whole class at the time - mechanically and rigidly preached the happiness of life, which was already a good irony; finally when they were about to take the stage, Wanting suddenly woke up, took the hand of her friend and escaped from this "repeated happiness".

4. Intention of milk:

(1) The mother returned drunk, venting happiness, Hao Lei took the milk out to drink, very life-like small details, but the mother regarded as a provocation.

(2) The younger daughter and Guo Jianbo nestled in the dormitory, and the daughter asked, "Mom, have I ever drunk your milk?" Hao Lei smiled, very frankly and cutely patiently explained "it is human milk", and both of them laughed. It's a particularly beautiful moment.

(3) Lao Zhou and his mother made a table of dishes after the "cave room", and the younger daughter Wanting drank bagged walnut milk, and spilled everyone at the critical moment when the topic was in an awkward place.

Milk is very maternal, but it is easy to be sentimental when it is not used well, and there is no excessive in the film, but the subtleties are meaningful.

5, the woman in red: the director said that here and water can have different interpretations, I feel that she is a remnant of the mother's early image, from the face of the mother is also a little similar to the mother. The bright red dress gives people a terrifying visual effect, and the mother is so warm and terrifying in her heart that it lingers. She was both resistant and silent to this "illusion" that appeared from time to time, squinting her eyes and waiting for her to disappear from a distance, and even had become somewhat accustomed to it.

Interestingly, the second time the woman in red appeared in the river where they were throwing ashes, the mother at that moment was silent, sad, disappointed, vulnerable and helpless (she broke the urn by mistake, and Guo Jianbo took the initiative to help her pick it up), such a mother returned to the way Guo Jianbo remembered, and even triggered the beautiful scene of her mother washing her hair quietly in her memory. This kind of feeling is actually not uncommon in the hearts of adult children, just like Zhang Weiwei sang in "The Truth":

"Dad, don't you say it again."

The more silent you are, the more you look like my childhood father."

6. Sheep's intention:

The director himself said it came from a dream she had actually had. In my opinion, the most direct point: the sheep's cry is like "ma", and the appearance of such a big sheep in the home is itself a bit of a nightmare element, and the sheep itself is also seemingly strong and actually allowed to be slaughtered, a very fragile sacrifice. In the dream, her mother was taken away but could not shout, shouting "Ma" in the voice of a sheep - through her crying in front of the "cave room", we learned that Ji Minglan was only holding up a powerful skin bag, and she was not a victim of her widowed mother and the times.

7. Pink pigeon:

The abnormal colors, the weak pigeon that could not take off, frightened by the crazy behavior of the little daughter Wanting, curled up on the cushion castle that had been set up on the throne; the little daughter did not think so, she liked it, and called it "Miss Pigeon"—the girl exerted a terrible "good" on her weaker side, and was equally unaware.

Two details that may not have gone unnoticed.

(1) On the night when his mother and Guo Jianbo discussed Aunt Wang's suicide, Guo Jianbo went to coax his daughter to sleep again, closed the door and stopped theorizing with his mother. The mother was alone in the foyer shouting: "Come back so late every day", "People are watching the day", "It's not safe"... What do you mean? I didn't understand it for the first time. The second time she suddenly understood that her mother knew that she had a lover outside, thought she was going on a date, and cursed her (she hoped that Guo would find a stable good man, but Guo always dated "wild men", and she estimated that she would hate her to death).

(2) Why did the mother move out the box that Guo Jianbo had hidden for so many years?

Because of the previous scene, the desperate Guo Jianbo returned to the dormitory and found that her young roommate had moved in, and there was no place for her things to be put. The next time, the mother asked Lao Zhou to move the box out and pulled in a small cart full of books, all of which Guo Jianbo had moved back from the dormitory. Her mother got a bookshelf and put it in the place of Guo Jianbo's box, which was originally at the end of the bed where she slept, which could also indicate that it was her baby.

Even if the mother is still taking care of her and accepting her, this home is still the only place for her to go after losing her dormitory space, so the mother and daughter are still connected again; sadly, the mother is still self-righteous and kind to her, will not communicate in advance, and wishfully thinks that it is for the sake of others, and even puts her books neatly on the shelves she has made up her own initiative. So Guo Jianbo angrily pulled down the bookshelf, and this kind of anger of the top people really had no way to vent.

Unavoidable shortcomings of the film (see reply column)

Seeing a lot of people saying that the rhythm of this story is not good, there is no climax, I think the rhythm control is very good with the temperament and content of this film: almost every paragraph has a small climax, each character is constantly plumped through the details, and their "once" is pieced together, just like the suspense film, very exciting.

But such a complex character relationship and the direction of the story that requires a high degree of attention to complete are really very unfriendly to mobile phone viewing. The first time I watched the live broadcast at the online film festival, I could not cast the screen, and the photography of many scenes had a large shake, the lighting was dark, and the mobile phone looked really black, very depressing, and even affected the most basic plot. Later, the official launch can be better than the screen projection, but some very careful long shot scheduling will not be able to show it, weakening the strength of the picture. If it is because of the way of viewing that the audience is prevented from seeing the above details and hinders the audience from understanding the movie, it can only be said that it is a pity that this spring tide is ah.

In fact, the most terrible thing about the film is that "they are all in love" - they hate each other so much, but they still have love.