Goose City - Jiang Wen's ideal country

Jiang Wen pulled me out from a bunch of Chinese movies made by dead people and liars, reminding me what the essence of a movie is, it's HIGH, it's awesome! My impression of Jiang Wen has always been that under the red sky, a cavity of hot blood was spilled in the golden wheat field. In his bones, he will always be Ma Xiaojun, with the brute strength of a young man, and the pure blue sky and dreams of a young man. His personality is more like a curse and a provocation to the so-called masters in the country. Jiang Wen is inferior to Ning Hao in storytelling, and the narrative rhythm is not smooth enough. However, Ren Xia, who is in a "knife and head roll", dominates the Chinese film industry, and the "bullet" is a good contrast to the shackles and rigidity of domestic movies.
As the director and starring, Jiang threw the energy of all the actors, except for the powerful Ge You. The same handsome young student, Huang Xiaoming in "The Orphan of Zhao" is still pretentious, but Chen Kun almost burst out with some evil spirits. It's a pity that Brother Fa, Lian Po is old, and there are only exaggerations and show-offs left in his acting. I can't help but recall Fa Ge's "Peace Hotel" many years ago, which is also a western bandit movie, but has an incredible sense of loneliness.
In recent years, a trend of domestic costume films (non-fashion films) must be stolen from Japanese films, mainly Kurosawa Akira, and "Bullet" is no exception. I was wondering what the effect would be if Jiang Wen's films were shot with several long takes instead of a lot of quick edits, maybe gorgeous but lacking in power. Jiang Wen is more willing to stand in a context similar to the Middle Ages in Europe and tell the great changes of the times in his heart.
Goose City is China. It used to have a strange and diverse civil society. Officials, merchants, gentry, bandits, prostitutes, five elements, eight flowers and thorns. If we look at the conventions of history, there is nothing new under the sun, and the flying details in the "bullet" are verifying the rich folds and smell of this "flower skirt" in China, and the smell of men and women pouring fishy. Whether it is Beiyang, or the Three Kingdoms and the Northern and Southern Dynasties, or simply blurring the background of the times, the law of the jungle, and violence. Therefore, from the perspective of values, the vision of this play has not escaped from the realm of gold and silver in Liangshan. Moreover, Jiang Wen, who is accustomed to a lot of swaying images, is still too obscure and not thorough enough.
In the so-called troubled times, the government's grand order is stagnant, but the social and individual small order is flourishing. Goose City is the civil society in Jiang Wen's eyes. What is different is that Jiang Wen does not sing praises towards this era, but turns away from it, just like Cui Yongyuan said, "This society is too second, I will not follow ".

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