But there are always people around who mention "Korean Wave". After all, a layman can't bear his curiosity, so he took the award as the standard, picked a few, and found that it was really good. The most impressive ones include "The Taiji Flag Flying", "Old Boy", "Kindly Gold", and the latest "Monster of the Han River".
Watching these Korean films, the same phenomenon occurred to me - that is, my attention is always attracted by the film, and I rarely wander away from my mind. That is to say, my strong rational nerve is firmly controlled by the film and cannot emerge. Let's talk about it.
First of all, visually speaking, these films are relatively "quiet". Most of the pictures have the texture of oil paintings, with dark tones, full hues, and soft lighting.
Nowadays, many domestic films have extremely high chroma and bright light and shadow. Each picture seems to be PS-passed by a certain "color intensity" rendering company. Although this commotion of red flowers and green willows and swords and swords fits well with China's era of "busy" and "blind", in recent days, the following thoughts have been surging in my heart - I am indeed very lucky, Born in an era of rapid change, it has made my life ever-changing and dizzying, but deep down, I really hope that this era will pass quickly! Therefore, I am getting more and more impatient with the dry, irritable and noisy color sense.
Secondly, the stories of these Korean films are mostly told well.
The Korean directors are not like some Chinese directors who pretend to be intellectuals and artists, always want to be righteous, or engage in some trivial innovations, nor are they like other Chinese directors who use the market as a guise, pornography, gambling, drugs, etc. They are mentally handicapped, they just work hard and seriously to learn all the common methods of the genre of the film, and learn solidly, and then in it, they infiltrate some personal opinions and narrative feelings in a low-key but stubborn way. The story is told with sophistication and character.
The deepest impression is that there are so many good actors in Korea!
The actresses there are said to have undergone plastic surgery, so from the looks of it, I often can't tell whether this Jin and that Ji are two people, but when Yi men move, their expressions and postures are different. Not to mention male actors, just in terms of appearance, there are many kinds, and when they act, they only see vivid characters, and rarely feel that stars are flashing.
Our situation in China (including Hong Kong and Taiwan) is just the opposite!
Celebrities have colorful styles and private lives. Fashion, entertainment, and audiences chat about gossip with relish. But when they acted, they only saw them wearing different beautiful shirts and performing themselves in different films, but they couldn't see the vividness and thickness of the characters in the play.
Why?
I don't know much about Koreans. I only know that when faced with the same thing, such as the Japanese problem, Koreans are much more intense than Chinese. They can set themselves on fire, wear black clothes collectively, shave their heads together, and cut their fingers together with gangsters... They feel that they are much younger, simpler, and fiercer than us. than our adolescence.
Perhaps it is because of this naivety that it is easy for them to believe in their hearts, such as stories made up, fictional characters, and dangling ideas. Because of belief, because of a single tendon, because of puberty, I will put into practical and meticulous actions to convey that kind of belief seriously. Ultimately, when it comes to film (art), audiences are easily persuaded. (Implemented in the Olympic Games, it is a match for China's nationalist online angry youth).
Relatively speaking, the Chinese nation is too old and too sophisticated, and no matter how devoted and passionate performances are, there will still be a trace of indifference after the events of the world, and the disdain after seeing through the world. Therefore, I only see stars fondling narcissistically. Feather, can't see the actors swooning in selflessly.
Whether it is good or bad, there is no conclusion. Isn't there always the following statement in traditional Chinese drama - watching a drama, watching a drama, watching a drama, not watching a drama, so the role is bigger than the drama.
But personally, those celebrities whose shapes and wrinkles have kept pace with the times are of little use other than proving that I'm aging with them. But the vivid and lively lives on the film will always remind me that at a certain moment in my life, those moments of light and shadow floating in the dark moved me and made me feel.
In today's China, innocence is equal to a fool, innocence is easy to be deceived, and innocence is likely to be a sinister and cunning disguised as a wolf in sheep's clothing... We are impatient and want to uproot innocence from children since childhood. But God is fair. If we lose our innocence, we will no longer focus on believing with all our heart and mind, and we will no longer entrust each other to each other.
The powerful strength that innocence gave us has long since disappeared in the sophistication, slickness, and muscle weakness of the precocious and precarious stubbornness and hesitation!
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