The National Day has passed, and the total achievements of the "big three" in the theater have exceeded 5 billion.
Among them, "My Motherland and Me" is the most special, with 7 directors directing 7 clips.
The "best" in everyone's heart may be different, Xu Zheng, Ning Hao, Guan Hu... All were pleasantly surprised.
And what I noticed was this one, "Daylight Shooting Star."
For a long time, Chen Kaige has been considered to be "the peak of debut".
It is not only a praise for Chen Kaige in the period of "Farewell to the Overlord" as a real cow, but also reflects that the quality of his subsequent works has declined.
Is Chen Kaige really so bad?
It is said that the original name of the movie was "My Motherland", which was changed by Chen Kaige to "My Motherland and Me".
The addition of an "I" is indeed a stroke of God, and it can also be seen that Chen Kaige's understanding of the theme of the film is deep.
But this "small" and "big", how to glue is the key.
In "Daylight Meteor", Chen Kaige uses the most primitive means of transportation "horse" to catch up with the most advanced means of transportation "manned spaceship".
It was a romance that belonged to him.
This is not the first time that Chen Kaige has filmed the era, as early as 17 years ago, he proved his ability with a ten-minute micro-film.
Douban 9.2, only more than 5,000 people scored.
Although it is not as famous as "Farewell to the Overlord", "The Depths of a Hundred Flowers" is also one of Chen Kaige's works with great artistic achievements.
It comes from the series of short films "Ten Minutes of Aging", where 15 world-class directors shoot 10 minutes each and string them together into a 150-minute movie.
Ten minutes, a good shot is to read the years, and a bad shot becomes a sloppy flower.
The difficulty of this propositional essay is definitely no less than that of "My Motherland and Me".
I think that Chen Kaige was the only Chinese director to accept the invitation, and his performance was undoubtedly the most surprising.
"The Depths of a Hundred Flowers" is a story of moving.
On this day, Mr. Feng (Feng Yuanzheng) runs into several workers of the moving company and invites them to move.
When the workers asked him his home address, he said how to take the route without fail.
This look is an old Beijing.
But when the workers finally drove to his house, they looked at a wasteland that was being demolished.
Home is gone.
And Mr. Feng did not seem to realize that he introduced himself to the workers in the air:
"This is our yard, two-in yard"
It turned out that this was not Mr. Feng at all, but Mr. Crazy.
Where's the madness? His soul was trapped in the old times, and his body was lost in the new ones.
The film repeatedly shows the contradictions between the old and the new era.
Mr. Feng, who was driving on the street, felt restless, and even stuck his head out of the window several times, trying to explore this strange new world.
However, he was reprimanded by the workers and shrunk back, cutting off contact with the outside world.
Obviously he was pointing the way, how could he behave so confusedly?
"It's not here!"
This is the most repeated sentence of Mr. Feng, who wants to invite the workers into his old world and prove that his home is still here, but no one responds to him.
There was a thick barrier between the two sides, and neither could hear anyone.
What else can I do? The cars were out, and the money had to be returned, and the workers had to cooperate with Mr. Feng to perform a moving drama.
At this time, the most absurd scene appeared.
Workers living in modern times are carrying the air of nothingness.
Mr. Feng, who lived in the past, moved furniture that could be seen and touched.
The two time and space are wonderfully intertwined, using a pseudo-move to complete the change of the old and the new of the times.
But don't forget, dreams are beautiful and fragile.
Immediately after that, Chen Kaige personally broke the balance in the crack of time, and the workers forgot to act in order to pass on the lighter, and suddenly pulled both sides out of the newly established spiritual world.
This almost cruel reality is as tight as the falling vase.
It is reminding you that the past can never be restored.
The move is over, the connection point between the old and the new era is gone, and the whole process is very short.
Mr. Feng was still the crazy gentleman, and he ran to the big locust tree with the bell, shouting as he ran:
"Moved to a new home! Moved to a new home! ”
The setting sun outlines the figures and trees very clearly, contrasting with the ethereal high-rise buildings in the distance, and there is a poetic sense of relict independence in it.
As Mr. Feng ran farther and farther, his figure became smaller and smaller until he disappeared, until he was swallowed up by this beautiful scenery.
This is precisely the strength of Chen Kaige's "seeing the big with the small".
An era can be big, high-rise buildings, streets... Just a glance can feel its change.
An era can also be very small, so small that it can only be contained in a person's heart, and it will disappear into the dust if you are not careful.
The short film was filmed after the successful Bid for the Olympic Games, when Beijing was undergoing an urban "facelift" and many hutongs disappeared.
The movie title "The Depths of a Hundred Flowers" is also the name of an alley.
I also went to this alley to punch the card because of the movie, except for the name is better, there is nothing special about it.
A ten-minute story doesn't intervene in the changing times, but it always leaves something behind.
Just like after experiencing this move, the workers can also feel from the sound of bells that Mr. Feng's house is real.
In fact, Chen Kaige is not afraid to compare with others, and he is not afraid to compare with himself.
From "The Depths of a Hundred Flowers" to "Daylight Meteor", he has not changed.
The same romance, the same stream of consciousness, and even the way two parallel lines meet are so similar.
The problem is that Chen Kaige is now more free of himself.
The emotional focus point is less, and not everyone can get his flying imagination.
This point began to be slowly exposed from "Wuji" and "The Legend of the Demon Cat", like to say that he is romantic, and dislike to say that he is fake and empty.
You're also not sure if the audience can't catch up with him, or if he can't catch up with the audience.
Perhaps, as in the sentence in "The Depths of a Hundred Flowers":
Now this old Beijing is lost in Beijing.