Instead, it seemed like he couldn't get up from the chair.
This is certainly a movie with a particularly clear timeline. In 1999, 2014 and 2025, the years are different, the scenes are different, and even the picture sizes are different. This is a Jia Zhangke-style sense of ritual. What makes people feel so strong at the end of the film that there is a sense of compulsion, and it is not just time that connects everything. But two lines may be the lines that the characters say because they are afraid that the audience will be difficult to understand. One is that Tao, after finishing his father's affairs, led the son to Lego, who was sentenced to live in Shanghai by Jinsheng after the divorce, and his father died suddenly. When he was at the station, he said: "Everyone can only walk with you for a short distance." Another sentence is Zhang Aijia, who had a long-term love with Dale in Australia, said, "Not everything will be defeated by time."
Everyone walked with Tao for a while. Liang Zi, the miner in "The Triangle Problem", is simple and honest, and the gift she gave her was a hair salon that was popular for a while in that era. The biggest outburst was not when Tao chose Jinsheng and punched him in the face, but after receiving the invitation from Tao, he lost his key and left his hometown. The boss Jinsheng in the "Triangle Problem" has a fierce conceit and cares about you for no reason. All his ideals are to make a lot of dollars like naming his son to be happy. The old father, from the daughter's avoidance after talking about her friends, to her worrying and worrying after her divorce and living alone, to her sudden death in the waiting room. Son Dale, during a brief reunion with Tao, videotaped with mommy in Shanghai every day, did not know why he had to kneel to his deceased grandfather, and was ignorant about the beautiful immigrant life that Jinsheng arranged for him. Although the key is hanging on his chest every day, he only remembers that his mother is called Tao. After I met Zhang Aijia and fell in love with this mother-like woman, I thought that I could go back and have a look, but I also walked heavily...
So in the end, it was still Zhao Tao who, together with a new dog, turned the snow dance into a disco in 1999. That may be the part of the road she wants to stop the most. There is a father, a friend, and a future where everything is unknown but may be better.
And time just shatters the past and brings powerlessness.
The Liangzi who said goodbye in the disco and would never come back to meet again, after contracting pneumoconiosis, returned to his hometown and wanted to ask friends for help. Tao, who had been divorced, went to visit him and saw that the invitation card he had sent was still by the bedside. When the deceased met, Liang Zi just asked, "It's convenient for you?" Their relationship didn't change, but the reality forced him to have no way to run away and never contact him again.
The high-spirited Jin Sheng, who ran a gas station and bought a coal mine. After immigrating to Australia, he still speaks a dialect and is still domineering. He communicates with his son only through translation software, but he is just a father. Although he changed his name to Peter and owned an ultra-luxury sea view villa, he was still the "high-end person" who drank Fen wine and allowed himself to be potbellied. This kind of chasing and conquering to fill oneself, thinking that one can control everything, but in fact the disordered and rootless state has not changed.
At one time, I felt that the blood connection between Tao and Dale had not changed, but it was not based on missing, but on the basis of identity and mutual need but each other's incompleteness. Dale remembers some episodes of getting along with his mother when he returned to Shanxi at the age of 7. He will fall in love with a woman who is also a teacher, a mother and a lover, because he came from that era and was typically abandoned by both worlds and cultures. rootless people. He lacks, so he needs, so this year-end love is particularly reasonable. But his emptiness, or not because of his longing for his mother, but because of his own floating has not changed. In the past, it was between the worlds of two families, but now it is between two countries and two cultures. The connection between him and his mother was endlessly pulled by the traveling time. A person wraps dumplings in an empty house in Shanxi, especially a wheat ear dumpling, and his son grows taller after eating it. A man, on the reefs of the Australian coastline, listened to the sound of the waves crashing on the shore, and read "Tao", the only label he remembered from his mother. What lies between them is not just the geographical distance, but two unconnected worlds. They want to get closer, but there is no way to start.
This kind of constant that cannot be continued or maintained with time and fate has become the most persecuting, most depressing, sad and powerless tone of the film.
What remains unchanged is Jia Zhangke's sense of ritual. Your memory needs to be very good, because the more you see the end, the more you understand why some of the previous scenes and pictures appeared. One of the most beautiful compositions is the "Triangle Problem" setting off firecrackers on the riverbank. On the right is a meandering river like time. The three people on the left stand in three corners, seemingly stable, but they are separated from each other. Zhao Tao gave his son a set of keys in the sleeper car on his way back, telling him that your home can come back at any time. In the end, this bunch of keys just hung on the son's chest, and was asked by another woman who replaced her. And that gun, after Liang Zi punched Jin Sheng, Jin Sheng once asked someone to buy a gun to kill Liang Zi, but in the end "it couldn't be done". After reaching the other side of the ocean, he finally had a gun, but no one let him aim.
Oh, and what doesn't change is Jia Zhangke's unadorned restoration of the normal scenes of Chinese life, especially in China's small towns. In the cities of Shanxi, even the sky is gray. The aunt on the road spit melon seeds on the ground while walking, and the shell of the seeds sticks to her lower lip... These scenes do not look glamorous and beautiful, and they are not false prosperity that makes people hopeful for the future, just like most people's lives. This is also what Jia Zhangke is hated for. He ruthlessly makes people look at his seemingly regular but lost life on the big screen. He neither praises nor crushes it, just recording it like this, the terrifying truth is forced to stand. We are out of breath in front of the mirror.
Especially when it comes to Zhao Tao, she deserves an actress. After her father died suddenly at the station, when she rushed to the train, she did not cry, but she was pale and transparent. When claiming the corpse, the words "I am her daughter", "Let's go home", "OK" and "Let your 70th birthday not be a good one" are broken in the increasingly uncontrollable grief. Afterwards, I received the cry of my son who had not seen him for a long time and was sent back for mourning at the airport. It was the satisfaction that had been filled for a long time in an instant, and the dull pain that another piece was missing. The cry when I got to my father's mourning hall was that I finally no longer had to support it alone, so the whole line of grief collapsed... Every paragraph was extremely exciting.
So much so that I think the scenes in Australia are too long, and I want to return to Tao's emotions quickly... This is the reason why the box office of this film is not good, the film and the audience absorb each other's spiritual power, such consumption, a little It's not fun, it takes a long time to relax.
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