[Watching at the Brazilian Film Festival] Last week, I participated in the Brazilian Film Festival at the Paragon at Tianhuan Square, and watched the award-winning film of this year's Cannes "One Concern" unit. It seems that the opening screening of the Guangzhou station has become particularly eye-catching due to the cuts and turmoil of publicity in advance. The title has obvious metaphors. The scene where the two sisters are separated in the mountains and can’t find each other at the beginning also gives a strong hint. However, when I appreciate it, I feel that this film is more focused on the narrative of the clue of sisterhood than the neglect of women in the title. The script is full of plots of Qiongyao drama, which makes the audience's attention more projected on the family bond of the sisters across time and space. This approach is naturally pleasing to the audience. It is either a dramatic coincidence (the two sisters have a fate in the restaurant), an obvious family dispute (the sister confronts the father in the cemetery), or an extremely sensational ending (retrieving the letter) And sister's daughter), both have the feeling of deja vu. In contrast, the theme of patriarchal oppression in the family and social environment is not fully demonstrated, and many key scenes are handled in a way that avoids the most important ones. For example, when the father treats the older sister who has returned many years later, or the scene where the younger sister and her husband revealed that he was selected for the conservatory, the focus is all on the character’s emotions, and constantly creates "good-looking" plots, thus weakening the social criticism of this excellent subject. , And became a boring and boring eight-point TV series.
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