Jin Min is the only person in ancient and modern times who can bear the word "genius" in movies. No matter how good others are, there will always be traces of human beings. What kind of work is this!
Jin Min's performance of the internalization of the characters is really amazing. This is the most talented and powerful way, and it is very worthwhile for future generations to learn.
Designers suffer from workplace pressure, little boys suffer from school violence and dual personalities as tutors, and fat police officers go crazy for their family. The characters in each episode have demons.
Use montage to switch identities of two people when switching shots with actions such as pulling the curtains.
Jin Min, the schizophrenic home teacher in the third episode, has the strongest flavor. Jin Min's editing is really worth studying. It's extremely complicated to be elusive, but the audience can fully understand it in the end. This is actually difficult.
There is no turning back, this is the road of manhood!
The fourth episode of Fat Officer is a montage of reality and comic book swap cuts.
I am the chosen warrior to defeat the demon!
The fifth episode of the criminal's appearance is a cross-cut with the fantasy self-warrior image.
To visualize the non-existent process of fantasy (the struggle between split personalities, the exploration of the prisoner's inner world during interrogation) into images, animation definitely has an advantage over real people.
Jin Min's thinking is different from that of genre films. The general director's thinking is limited to a certain type of film and cannot come out, but Jin Min can use any type of film for his own use and form a leverage.
The sixth episode of the old woman and granddaughter, a montage cross-cut between reality and memory.
Jin Min's cross-editing is completely hard-cut together, without any transitions and overlapping, there is a kind of dizzying fantasy pleasure.
One second in the church, the next second on the road for dinner, the next second on the stage to perform magic, as if there is no logic in a dream. Ordinary movies express dreams completely according to the lucid logic, but Jin Min uses the logic of dream jumping to express dreams.
That guy is both a person and not a person, and he will appear at the side of those who are cornered at any time.
Jin Min's films are extremely complicated, but in the end the audience understands that, compared to "Yellow Sea", the director's level is really high.
The combination of jumps between completely unrelated episodes is absolutely amazing.
What's the matter with the random switching of the style of painting, hey, how come all the unreasonable things have become reasonable here in Jin Min?
Each episode has a very prominent personal style, and even the most boring content will have the element of genius in it, not general.
Even if the world is wrong, there must be something right, so we can definitely go on.
The ninth episode is a bitter love letter to the animation industry. Episode 10 is an elegy for old-school society.
It was his city, the best place for him, a place where he could feel at ease.
Don't say that again, you're just trying to escape. The idea that you can be saved by escaping is just an illusion. No matter how painful it is, you must face the reality and get through it together!
Clip flooding has increased tension during exciting dialogue (like demolition).
It's still the near-apocalyptic end of The Red Hot Chili Peppers.
notes:
Are you sad when you watch this? I am sad. Do you think that every victim is yourself? I think ah. And the so-called victims are all hurt by themselves, pretending to be a victim, all because we escape from reality, and the root of all sins is because we refuse to face ourselves.
This is the highest level that animation can achieve. Wang Yang's unbridled imagination, neat and varied sense of form, and unattainable media self-awareness - it seems that those undiscovered possibilities have all ended in this animation.
The first four episodes are a stroke of genius, and everyone is freeing themselves with the help of an trumped-up existence. The back is more and more deviated, and the fantasy is more and more wrapped in reality.
"Don't pretend to be a victim. Don't make false escapes. Human beings are such an animal. No matter how difficult it is, they must persist in their lives."
The reality of losing one's destination is the real destination, and escaping blindly will only destroy oneself.
Strong imagination produces reality.
In fact, it is a very Lu Xun text: "Despair is false, it is the same as hope." Jin Min's works really need not be limited to the comparative dimension of "animation".
Thoughts are externalized, intertwined with reality, extending infinite space and infinite possibilities. Reconstruction on the ruins looks beautiful, but it is just the beginning of another reincarnation, full of powerlessness and fear. To the greatest extent, and not just as a mere means of transmission.
Is Jin Min a surrealist or an anti-rationalist? Are the dreamlike scenes that spill over from time to time in his films, the underlying world of the unconscious, or are these dreams and madness not the occasional revelation of the unconscious, but the essence of thinking?
1. Almost every episode is exploring the boundaries of animation as an expression (or there is such an attempt); 2. The social disease rooted in the individual's heart, the last three episodes turn from outside to inside; 3. Favorite 5th, Episodes 10 and 13; 4. The original key information was hidden in the opening and ending songs.
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