"Get married, be stupid...", "Drift" after singing, full of bitterness.
The dark prostitute who does not want to be a dancer is not a good daughter, behind the brilliance of Qin Hailu, the queen of the Golden Horse Shadow, is the spiky spike of the king of fruits, durian, and the pungent and fragrant flesh, which is the "unbearable" struggle that the drifter does not want to remember.
<h1>"Drift" two-sided life</h1>
In the current context, "drift" is a word with a sense of pain, which is mixed with the last resort, for the dream, or for the sake of life, leaving home and moving forward alone.
The year has come, and it is reported that the passenger flow of the Spring Festival in 2019 is expected to reach 406 million person-times.
This huge "drifting" family has brought fire to the dramas "Beijing Women's Picture Book" and "Shanghai Women's Picture Book", and also made the short film "What is Page" the most successful marketing case at the beginning of the year.
Drifting north, drifting, drifting south, those who have not drifted are not enough to speak life, and those who have drifted may not be willing to speak, because they cannot face the unbearable, depraved, vulnerable self.
Qin Hailu's earliest, and arguably the best, film work "Durian Fluttering" is a "unbearable" movie that is too fake to work.
A Yan (Qin Hailu) of Mudanjiang in the northeast, with a beautiful vision, goes to Shenzhen/Hong Kong to dig for gold.
Misplaced, Ah Yan, who wants to be a dancer, runs between the burrow, the tea restaurant and the horse sill, and becomes a short-term secret prostitute.
Three months, only three months from Shenzhen to Hong Kong, is the sharpest thorn in Ah Yan's double-faced life, and the most irreconcilable stench.
In the shortest possible time, make the most money, and exchange the sale of flesh for the excitement of returning to your hometown. We always harbor the deepest malice toward the "overnight riches" of others, but we are willing to share the many benefits of this wealth.
Ah Yan, the marginal prostitute who was full of contempt and shame, in her hometown, became a person who returned to her hometown, and the pride of her parents was lamentable.
<h1>"Amnesia" identity dislocation</h1>
Or soothing and gentle, or noisy and crazy, the music of "Durian Fluttering" reflects the dislocation and confusion of Ah Yan's situation.
Being in the bustling city but not being able to fit into it, the dislocation of identity is by no means an illusion, but a class gap that is difficult to cross. From time to time, the film reminds the audience of the dissociation of the identity of the little character Ah Yan and the irresistivability of his tragic fate.
The vista is Victoria Harbour, the narration is a pure Northeast dialect, and the Western LeSaks is a long way away, and the hometown on the northeast river is in sharp contrast with the alternative Hong Kong life.
On the one hand is Ah Yan's real identity, and on the other hand is the specific mask identity of the secret prostitute career.
Roach rock music is accompanied by a large number of flashbacks, jumps and three-dimensional montages and other MV techniques, disrupting her life and breaking her mask. Constantly interrupting meals, constantly repeating baths, constantly receiving prostitutes, constantly changing places of origin.
Ah Yan chose the most unbearable way to make money, and then tried to erase the objective existence, and then denied and forgot everything that happened.
Selective amnesia, used to rediscover one's identity.
When Ah Yan returned to her hometown and stood by the railway tracks, Xiao Ming and Ah Yan sang the "Wedding March" and "Primitive Society Good" with changed words. She lives in one identity, changes her mobile phone number, and buries another identity deep in her heart.
This is also why, originally it was the past that God did not know, but Ah Yan ended his love and used his shaky self-esteem to maintain the only remaining pure land in his life.
But on the other hand, Ah Yan left her real address for the little girl Ah Fen before leaving Hong Kong, asking her to write to herself.
This is also the only kind and pure existence in Ah Yan's unbearable life in Hong Kong.
<h1>A "documentary" brutal aesthetic</h1>
In Hong Kong, Ah Yan is a passerby of the gold diggers, and Ah Fen is an illegal immigrant who smuggles. There is no doubt that they are all marginal figures in society, "black households" who are tempted on the edge of the law, and live a life of hiding and hiding.
Their lives are turbulent, and director Chen Guo uses shoulder-to-shoulder chases, hoops, far-range shots and jumping pictures, as well as gray and dark colors and masked compositions, to carry this cruel aesthetic to the end.
The film does not directly cut to the point, but how Xiao Fen's family illegally entered Hong Kong. Xiao Fen's family lives in a dark alley, and she and her mother make a living by washing dishes, and the disabled father once did a small business between Hong Kong and Shenzhen.
It was in this dark alley that Ah Fen witnessed the pick-up career of Ah Yan and Xiao Gu Qiu Tsai.
On the day of Ah Yan's departure from Hong Kong, a total of 38 guests were received, and a sentence that could set a Guinness Book of Records revealed endless self-deprecation and sadness.
The director presents the simple and helpless survival logic of this group in a documentary manner, leading the audience into this trance world and falling into the trap of its cleverly designed narrative.
In the second half of the film, the director adopts the way of erection, the technique is more plain, and the composition is more exquisite. Through a lot of big perspectives and swing arms to fight the inherent roughness and vastness of the North.
People in her hometown envy Ah Yan and also want her to take her cousin to Shenzhen to develop. At the same time, there are old businesses from the same industry.
Only when you return to the former art school and remember your dance dreams can you understand the thickness of giving up and getting.
The cousin eventually went to Shenzhen, and it is unknown whether she will repeat Ah Yan's mistakes. On the other side, the three of them formed a modern song and dance team and drove off into the distance, heading for another path.
<h1>The "durian" style underlying metaphor</h1>
The image of durian is very close to the essence of "drifting", hard shell soft flesh, fragrant and smelly, and the metaphor inside and outside is meaningful.
In the movie, Ah Yan's follower was attacked with durian, and Ah Yan and Xiao Fen's mother did not dare to call the police because of their embarrassing identities. Gu Qiuzai fainted on the ground, and the huge durian lay there, ignored, watched, allowed to die or be reborn.
Here I have to say that the most classic picture, in a black background, Standing at the mouth of the alley, Ah Yan, pressing her legs, stretching, making a variety of Peking Opera figures that show extraordinary skills.
With this as a foreshadowing, Gu Qiuzi wants to find the murderer to knock on the durian he picked up, and let the smell spread in the alley, causing Xiao Fen's father's ism. On Xiao Fen's birthday, she tasted the taste for the first time, which was much like the taste of the bottom layer.
Ah Yandong's hiding from the Tibetan police, and the cold soaking caused by the uninterrupted accompaniment of guests, resulting in skin peeling and ulceration, is not another reproduction of the taste of "durian"?
Ah Yan, who returned to her hometown, received Ah Fen's parcel, which was a durian. Many people set out for the first time with a beautiful vision, and she chose to stay, silently eating durian.
At the end of the film, Ah Yan once again took the stage, danced with water sleeves, and performed "Heavenly Girl Scattered Flowers", which seemed to return to the original day of simple dream hunting.
Qin Hailu's "falsehood" carries a kind of self-loathing, using depraved "work" to seek to return to his hometown, using dual identity to maintain self-dignity, and using abandonment of feelings to complete the remaining purity.
"Drifting" type of change, "Durian Fluttering" with gentle criticism, stinging us far from home.