Yinniang is also a mortal-comment on "Assassin Nie Yinniang"

"Assassin Nie Yinniang" is about a living state, the living state of people in the Tang Dynasty. Therefore, great efforts have been made in the construction of Fuhua Dao, in order to let the actors enter the state and let the audience experience the state. Many of the lamps in the play are copied from the archaeological relics of the Han Dynasty, as are the incense burners, as well as various wine vessels and pots, all of which have their origins. The silk and linen clothes of the characters gleamed in the light. The most prominent is the architecture, which is the most directly related to the living conditions of the characters. Hall, stage, pavilion, corridor, how to let light in, how to illuminate at night, and how to separate the space with curtains. With these, you can touch a little sense of Tang people's life. This is something that domestic films cannot do at present, but compared to Hollywood and Japanese classic period dramas, it can only be said that the industrial base is different.

Having said that, let's talk about the story. Starting from "Coffee Time", Hou Dao looked at the state of the characters more than the story, and even some basic narratives could be ignored, and the state of the characters in the scene should be preserved. Therefore, some people will say that they can't understand it, but it's not that they can't understand it. It's a very simple story. It's hard to understand it. A bit too much, so much that the cause and effect of the plot are not very clear.

Besides the characters, in the legend of the Tang Dynasty, Yinniang has a phantom, and so does the female nun. The film is basically a disenchantment process. Jingjing'er and Kong Kong'er in the legend are the most magical places. They are not only magical in magic, but also the key to Yinniang's expression of wisdom and standpoint in the face of life and death. They are the climax of the whole legend. Retiring from the rivers and lakes, this is called a legend. The Yinniang in the film did not experience the climax of this scene, and only broke up with the master robe. The struggle in her heart may not be small, but the narrative emotion and characterization are much worse. To put it simply, in the legend of Tang, Nie Yinniang does not see the beginning but not the end; in the film, Nie Yinniang returns to the mortal world. The overly modern interpretation of the script lost the original atmosphere. We saw that Nie Yinniang didn't want to see Qingqing, I saw the heroic spirit of killing one person in ten steps and not leaving a thousand miles. Without this, Nie Yinniang's soul would not have been captured.

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