Speaking of the movie itself, I admire the director’s ability to balance the points of laughter and crying. The whole movie was watched and I heard sobbing. I looked back at a row of tissues and crying, even the Japanese man next to me was silent. He took out his handkerchief to wipe his tears. Although it is a tragic movie with rape as the theme, there are a lot of laughs in the plot, and the basic audience is in a cycle of crying, laughing, crying. It can be seen that director Li Junyi hopes to show optimism in the film. The film has always carried out a clear positive force. Sadness is inevitable, and smile is the only driving force for life to continue. The director's superb ability is superb in creating a sense of'resonance'. Even if we haven't experienced such a tragedy personally, we can still feel the protagonist's various emotions as if we were in the matter. Of course, this is also due to the actors, especially the role of the young actor Lee Re, who is really a queen. At a young age, he can actually express the "natural" that is the most difficult for an actor to be so true. People who don't know think she is. I have been traumatized by this kind of experience. I am a good actor. It reminds me of the little girl in the fierce battle and the love of Ashida in my mother. The new generation of ghosts is really countless. No matter which country, children are always the most authentic. The mirror finally understands why Hirokazu Ee's movies are always about children, because only children are the most natural. Directors who pursue good movies will always hope that their movies are recording real elements.
Although the lens of this film is ordinary but the arrangement is superb and concise, there is nothing more than the lens, so that it reminds me of Bresson’s death row escape. Arrangement of the most appropriate and suitable lens often has a much stronger effect than the cool lens arranged for large scenes for human photography. The recent domestic vulgar movies are particularly disappointing. In addition to the unstructured plot combing, there are more It is a big shot deliberately arranged for various big scenes, it really lacks the emotion and the sense of reality that the movie should have, let alone the sense of art. If the film is purely to entertain the public, it would be a very sad thing for filmmakers, because the film can convey too much information. In addition to philosophical logic and emotion, the huge energy contained in a realistic film can sometimes even change one. The country and the world. And what our populous country lacks is the vision and support to examine such a good movie. Realistic movies have always been the most meaningful type of movies on the road to making movies. In fact, our country does not lack such good movies. Fifth-generation directors like Zhang Yimou and Chen Kaige have all been on the road of such movies. Incorporating strong national colors, such as red lanterns, chrysanthemum beans, red sorghum and so on. However, the sixth generation of directors took a few strides on the road of realism, Jia Zhangke, Wang Xiaoshuai, Lou Ye and others all focused on making social movies in the form of small figures. And the blind well, blind mountain, which I personally like very much. But why does our country lack the insight to examine such films? It has been assuming that if Xiao Wu were to be screened in theaters, I don't know how miserable the box office would be. It is precisely for this reason that more and more commercial junk films have won unlimited good box office in theaters, and more and more good domestic films have been bought out by foreign countries.
In contrast, I admire France's cultural support for film. Jia Zhangke’s days are destined to be released in some French cinemas. Although I am extremely disappointed with Lao Jia’s film, I think most of the good domestic films have been monopolized by France for production and distribution. Many good domestic films are only available in foreign film festivals. I just saw that in China, I can only watch the gun version. This is a very sad thing. It's not that there are no good films or no good directors in China, but the lack of support for them. South Korea’s Sowon has achieved good results both at home and abroad. Can movies like The Good Man in Three Gorges only get applause abroad? Can directors like Jia Zhangke only embark on the road of making exaggerated films to cater to foreign audiences?
Although it is obvious to digress, because there are many people who watched this post, I still hope to tell the feelings of watching movies in the past few years. If you have time to comment on some trivial issues, it is better to support a few good domestic movies, thank you .
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