"No one is seen at the end of the song, Jiang Shangshu Fengqing." This was the first evaluation that came to mind. At the end, Nie Yinniang escorted the old and young people away, and the characters gradually turned into moving ants in the mountains and fields.
"Assassin Nie Yinniang" is a martial arts film made by Hou Xiaoxian for seven years. It researches history into paint, cuts Tang Dynasty notes into rice paper, and paints with delicate meticulous brushwork and splash ink at the same time, which outlines the height of a temple and the distance between the rivers and lakes. The coexisting Tang Dynasty. In the film, one silk and one mantle are all realistic and elegant, and the birds in the cold forest are full of ancient meaning. Like Yinniang's bathing and Hu Ji's dance, the props, scenes, costumes, and character behavior are restored to life. Nie Yinniang, played by Shu Qi, lowered her eyebrows and narrowed her eyes, she was sealed in her body no matter whether she was killing intent or emotional fluctuations, showing the spirit of the assassin in her gestures.
Such a beautiful artwork, if the investment behind it can be a little bit more, if the time can be longer, if the story can be told a bit more thoroughly, it will definitely open the era of new authors of martial arts films. Unfortunately, the film’s narrative is obviously flawed, such as the entanglement between Princess Jiacheng who married into the Tian family and Princess Jiaxin who became a Taoist aunt; Tian Yuan clan and Jing Jinger are the same person's light and dark identities; and Yuan, Tian, and Nie’s three families. Power strife. For these complicated and tricky behind-the-scenes stories, the director's approach is: never explain! ——This is like a room that is already very deep, with a series of screens to divide it, which will only make the scenery darker and darker.
After all, "Assassin Nie Yinniang" is not a martial arts movie, but Hou Xiaoxian, just Hou Xiaoxian. It is an attempt by the director to put his iconic long, empty, far and fixed shots into a martial arts film. It makes martial arts no longer martial arts, or it makes martial arts a hollow carved vessel. It has a poetic lens language, but it is careless in its narrative; it obviously can fly into the sky, fly into the sky, and throw beans into soldiers, but it chooses to make a split, like a water dragonfly. It wears the director's aesthetics from head to toe, and presents the film projections of the people, events, and objects of that dynasty in the director's mind.
For the audience of "Assassin Nie Yinniang", if they can't build a reasonable expectation and enter the movie theater with the mentality of watching a martial arts entertainment film, they will most likely be disappointed. In fact, almost all foreign audiences who were with me were dumbfounded-most of these people only knew "Hero" and "Crouching Tiger, Hidden Dragon", and thought they were watching the same type. The blond boy sitting in the front row said to the male (sex) friend (person) next to him after reading it: "Wow, I only heard that this director is difficult to understand, I didn't expect it to be so difficult! %^&$%*! ..." I
don't know if I had a hunch, Hou Xiaoxian added a "Qingluan Dance Mirror" story in the film. Qingluan did not call for three years. Someone suggested: "Why don't you hung up the mirror to illuminate it when you hear about Luan and see the class?" As a result, I saw the projected Qingluan screaming in excitement and mourning, and finally danced in a mirrorless night. In order to find his own kind, even if he jumped to the world without any edge, this may be the inner portrayal of all directors who are alone in film creation. For Hou Xiaoxian, audiences who "understand" him can also meet but not ask; once they ask for it, they can cry for blood.
The Qing Luan outside the movie is Hou Xiaoxian, and the Qing Luan outside the movie is Nie Yinniang. The female assassin walked around the world, her only companion was a horned dagger. Her parents, mentor, and cousin who Zhiyue married were all turned away by her. Her loneliness is even reflected in her moves. The winning move is often a clean cut of the throat, like a blue sky. What's interesting is that it was not the Jingjing who was the same female assassin as her who was regarded as the "kind" in the end, but a simple alien mirror-grinding teenager. A teenager lives by grinding a mirror, and she uses a teenager as a mirror. What she sees is the rule of keeping the inner morality between killing and not killing, and the tenderness that never loses no matter how much blood is stained. When the teenager Mo Jing ran all the way and said to the villagers, "I knew she would come back," Nie Yinniang, who was walking behind, showed the only smile in the film.
This situation can be waited for.
[TimeOut draft, please indicate the author's source for reprinting]
View more about The Assassin reviews
