#"Youth Nezha" -1992- The core content of Cai Mingliang's film, as the name suggests, is to tell the story of "bad boys". After watching this film, I realized once again that the far-reaching information carried by the language of the film is comparable to that of the Han and Tang Dynasties. When you want to express a child's dissatisfaction with real life, all you need to do is have him stab a cockroach to death and break a piece of glass. Of course, every director has his own way of expressing his dissatisfaction with real life, but for Cai Mingliang, maybe he prefers such an introverted way. The editing of the film is coherent, and the parallel narrative makes people not feel boring. Audiences are looking forward to the encounter between the protagonists, and the director has set up several clever compositions to increase the tension. The bland ending makes people sigh at the meticulous thinking of the director. At the end, the compromise of Akang's family and the cry of Azer and his party are more like "breaking out in silence". Rain has always been used as an environmental tool to heighten tension. In this film, the appearance of water has a more profound meaning. "Water" is an image created by the director for the film. With the occurrence of events (robbery, smashing cars), it is like a curse that shrouds the characters' lives. The scene where Akang breaks the glass with his hands is the introduction of "water", an original object outside the house, into the room, and the film begins immediately. Azer's expression when he returned home showed that there was no water at home before, and the sound of the bed disturbed Azer's heart. His troubles were known to the audience, his loneliness, his character, and the appearance of him and his girlfriend Agui also paved the way. In the first ten minutes of the film, the audience has sorted out the outline of the story for the audience. Cai Mingliang's parallel narrative does not take the simple coincidence of Keith, but A Kang's motivation comes from coincidence, and the development of the film relies on his subjective initiative. The meaning of "water" is diverse, it is the trouble of Azer's loneliness, and it is also the pleasure of A Kang's rebellion. Whether it is trouble or pleasure, "water" comes from the sky, which cannot be changed or avoided. "Water" represents the estrangement between the young generation and the society. The bad children in Tsai Ming-liang's story are simple children at the lower levels of society. Their suffering comes from the transfer of social problems (rainwater) to the family (water in the room), not inherent evil. We can see the taxi driver's father's tolerance towards Azer in the rain, Azer's sincerity towards his friends, A'Kang will feel guilty about his actions, his father didn't lock the door, and no one seemed to answer the phone call, but the movie The characters have been connected. Cai Mingliang had hope for this world, and at the same time they hugged each other tightly and were screaming in pain. It's been a long time since I wrote a review, and I still feel a little handmade... But the photography experience in the past few months has given me a deeper understanding of the "movie" art.
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