I feel more and more that every writer or director will have a theme that is stuck, can't break free, and talks over and over again. Cai Mingliang has been talking about loneliness and aphasia in the city, but at this time, he has not yet cultivated the sharp and colorful metaphor skills of the later period, and his character has not lost the ability to speak or interest. He even asked the character to ask. Come out, where are we going? A shot of Xiaokang inside really shocked me. After he destroyed Azer's locomotive, he peeked at the furious Azer naked in the small hotel the next day, then laughed out loud, jumped up and down on the bed, and hit the ceiling with pride. It felt very scary, and it was too far from the repressed character he showed before. Later, he "passed by" on his bicycle several times, pretending to be ignorant and asking Azer if he wanted help. Suddenly, I feel that I understand Xiaokang very well, and he is also pitiful. He didn't want to be a good student looking forward to integrating into the ranks of the youth in society, but he had no choice but to follow them. But they didn't notice him. He can only affect Azer's life through destruction. Seeing Azer finally reacting to his existence, he must be conflicted in his heart: he wants Azer to really see himself (so he wrote his code name Nezha on the ground here), but he can't tell him it's him He did, so he went to ask Azer if he wanted to help, with a cautious and anticipatory mood, but he was scolded by Azer when he was furious, and Azer didn't even look at him.
A Ze and A Gui are relatively lucky in Cai's films. The directors of the young age are still warm and less revealing. Although they are stumbling, they are at least sincere. The brotherhood of the two youths in the society is also good. The father role also occasionally shows warmth, such as wanting to watch a movie with his son, or leaving the door for his son in the end.
Cai Mingliang has shown some styles in the later period. Although the core emotions are in the same line, they are gentle.
Cai's films always spend a lot of ink on various images, such as the water in this one, the water in the sewers is constantly coming out, and it is always wet. In the eyes of the director, water is not pure, it is always a puddle on the floor, dripping from the towel and gushing out of the sewer.
Suddenly I saw that Chen Shaorong is also in Long Live Love, and his role and Li Kangsheng's role are still the relationship of the film. It feels like the director is standing behind Li Kangsheng and watching Chen Shaorong. Thinking of reading Zhang Ailing's class this semester, Zhang Xiaohong said that it is easy for creators to expose their hearts, and even their sexual imaginations are inadvertently noticed by others. I feel like the director never hides his (as gay) male gaze. Therefore, his movies are full of hormones, but his lust is not exported.
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