Lu Xinghua commented on "Lover Under the Olive Tree"

Text: Lu Xinghua

Poster for the movie Lover Under the Olive Tree (1994).

The director asked the crowd to play themselves.

In the village, he uses movies to glue daily life.

However, there are already movies in daily life, so what does the director do when he inserts it? Do you want to talk about it?

The first half is about how to make a movie in the movie.

He wants to write about the "spirit of the film"? Is the spirit of Hegel said, that is, the spirit of Lao Bi who went to walk the Avenue of Stars after leaving the CCTV Avenue of Stars. Lao Bi wanted to learn Abbas, but people were too low, did not do it, wanted to do ah, tried to run again and again.

Abbas takes us to face the peace of life. This calm is particularly eloquent, and the audience can't be eaten.

In the movie, the people in the village are very calm, or the director wants to bring them calm. Is this the film "The Humility of The Film", "The Position of the Film in Life" or "The Film Is Not Urgent"? Ooh! The movie is really out of the country!

This is to let the film happen in life, let the film enter the life of the people, And Lancière said that the film makes the life of migrant workers epic, giving the latter the opportunity to wait for them patiently. It is also an opportunity for deleuze to experience people "living brainlessly", hiding from the brains of intellectuals and the eyes of fashionable audiences, so that people can become animals, plants and flowers and deserts and black holes.

As soon as the girl dressed up, she wanted to dress up as a star, unwilling to obey the director's instructions to dress up as a rural girl, and was criticized.

In fact, Rancière had already defended her: the migrant poet was the kind of person who wanted to be a poet in a city bar, what happened? They don't want to be migrant poets.

Moreover, the masses themselves need movies, they are already making movies every day, from the Paleolithic Age to today, which has nothing to do with the films that the directors want to make for them. Today, we all know, we don't spend any money, we don't care, social media can help us organize movies, so industrial movies and art movies really don't want anyone to watch. Industrial films are becoming less and less relevant to us, and a hundred more Zhang Yimou are useless. No, one Zhang Yimou will be too much. Movie directors, get out! Mix again, and we'll be mad dogs when you guys are!

The concluding part is very relevant to today's youth life: how to marry a daughter-in-law without a house? Use the movie: the hero chases the girl and asks her to promise to get married: I don't have a house, but I want to marry you, and other people also get married first and then build a house. This means to repeat it for more than five minutes.

yes! There is a house, there is no house, between the existence and the non-existence, isn't that exactly where the movie is located! There is no house, so he can only see the house in the movie, and it is the movie that makes him dare to marry and marry his daughter-in-law. So, should I write an Abbassis, "Cinema: Between Being and Being": Cinema only happens between being and being. How can a full-fledged literary youth understand movies?! No, so if you want to make a movie, you have to make it; because you are not a groom, you need to act it, and when you act, you will slowly do it.

The male protagonist courtes the female protagonist through the sorcery of the movie: If I were you, you would promise me, and if you were (playing) me, you would definitely promise me. This equation is eloquent as thunder in the penultimate minutes of the movie!

When he said this, the male protagonist thought that he was out of the movie, but in fact, he was still in another film, and he didn't realize it: I just want to marry you, you are so hard-hearted! Yo, it's so convenient, this sentence is also learned from the movie line just now, this is really called: live learning to use.

The lines are used, more than in the script ( Editor's Note: appropriate ) , in place! Palms see blood!

Well, even if the male pig's foot is desperate, it is still learned from the movie, and it is also "Sweet Life" (Fellini's film title is a mockery of the kind of quasi-Hollywood life that we all live; even my cycling action has long been polluted by Hollywood!). In Fellini's films, there is not a single person on the street who is not studying Hollywood, and teenagers learn the way fashionable girls are fashionable movie animals, but they don't even know that they are also movie animals! This is cheap for Fellini, put up the camera, shoot everything is a movie! It made Abbas have to shoot like that!

The movie is: Man is in a state between being and being. So, aren't we in town people in movies 80% of our daily lives? When we don't act, is it when we watch Korean dramas?

The male pig's foot also said to the girl, I want to give you a future. Oh, in fact, this future, he also moved from the movie. Abbas is really more Houmai than Houmai, the Iranian version of Proust.

The expressive structure of this film is actually: the old actor watched how the amateurs acted, and after a while he was fascinated, and found that the extras were much better than him, so he did not liberate the audience, but felt very liberated. Just like me, on the road smelling the smell of vegetables wafting out of everyone's home, I am also very relieved, everyone is doing well, then I am at ease, walking is more brisk! The film shows this kind of patience of expectation, so too many long shots do not seem contrived.

For Abbas, the film is probably: the director's patient expectations for amateurs, his petty bourgeois film dream is only sneaky, stumbling and finally realized at the end of the film, obscenely leaving the scene like a street rat.

Abbas's achievement as a film director is to complete the amateurs and make them his protagonists.

The director turned to the audience and said, "Well, I'm basically not at fault, should I get out of your sight now?"

So, if I were to write a commentary on Abbas, I would call it "The Humility of Cinema," which means: There's a director here who knows that he makes something like toothpaste himself, and he knows that the masses can't do without it, but it's just an accessory to their daily lives. No matter how much the director wants to help, he can only be in a hurry, and no matter how good the toothpaste is, he can't help them find an object. The director must show the virtue of being in a hurry, like waiting for the hen to lay eggs, that is, the life of the hierarchical masses to light a cigarette and record it. Is Abbas trying to hold the position of a sincere artist?

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