In Jia Zhangke's video world, home has always been an important thing. Even if I have never been to Shanxi, I don't like the food, and most of the Jin dialects can't be understood without the subtitles... But I have watched many films by Kechang Jia over the years, and I am very impressed with the man named Fenyang who was born in him. The county has a lot more intimacy. As the filming location of most of his films since "Xiao Wu", the old city walls, the eternally gray sky, the cinders all over the place, and the dull-faced crowds are not just Jia's stylized works who tell the changes of the times again and again in his stylized works. The background cloth of the fate of the little people in the transformation also pinned his stubborn nostalgic nostalgia. Who can really leave the homeland, leaving the familiar recognition that everything from food to language to habits to the smell of the air to even the ambiguous postures of men and women are wrapped in circles, so the Shenyang aunt in "The Tale of Twenty-Four Cities" was taken by the Great Times. Chengdu, which was air-dropped to the third-tier construction for decades, still can't change the local accent, so "The Three Gorges" calmly recorded the most surreal landscape farewell in this century, so Liang Zi in "Mountains and Rivers" has never been spiritually integrated into Jizhong who ran away with anger , Even if you get married and have children, you will end up dragging a pair of pneumoconiosis and a broken body back home. From Fenyang to Jizhong and then to Fenyang, Liang Zi was also a miner with a bit of literary and artistic feelings. He could dance, but he was sluggish but gentle. However, the failure of the triangular relationship was still repeating the unbreakable solidification of the class. The shackles of fate are not only It will kill love, and let you be tortured by survival to the point of dying. You have no courage to turn around in the face of the charity of your old lover. They are all pitiful people, and they are all people of this country who are incapable of breaking the established trajectory. Tao is lucky, compared to most of the miserable women in the small county who are struggling to get enough food and clothing. Half utilitarian and vanity half instinctive and conscious choice when young, at least guarantees the comfort of living in a big house in his later years. Yin Ruijuan of "Platform" also loves to dance, but she can only relive her old dreams in the office on night shift. She has to boil water while coaxing her children. On the road that life will eventually lead to boredom, Tao's loneliness has instead deepened the depth of life experience. In the end, the dance in the snow, Jia Zhangke's deliberately arranged but still moving bridges, no matter where in the world you are living a mediocre life at the moment, You will probably burst into tears just like me. From Fenyang to Shanghai to Australia, Jin Sheng took Dollar through the 20-year journey in reality for many Chinese people. The postmodern time setting has a playful look at the fate of the group and prophecy. Whether it's the anti-corruption campaign in 2014, or the awesome RMB in 2025's imagination, the word "fantasy" is not just a sci-fi tablet in the movie, but also the unchanging path of this country and this person. That year, Jin Sheng was a violent man who used dynamite to unleash his hormonal ambitions. A prosperous youth, recklessly chasing love, the truth of life and the incompetence of human nature have not yet unfolded. It's just that the cracked ice surface is still a short-lived firework, as if the flying dance steps of the waves that year will eventually be silent. The angry old man held the gun in his hand but was still anxious, and even though the lost boy held the key to the house, it was difficult to set foot on the way back home. You are a white-collar worker from Beipiao, you are a migrant worker entering the city, you are a proud middle class, you are an official businessman with power and money covering the sun, no matter how confident or helpless you are, you have left after all. Leave the ruined land, leave the nagging parents, leave the girl who spoke love and swears, leave the city shrouded in smog, leave the country without a sense of security, leave the closed ignorance, and leave the life kidnapped by lies. But I still can't find what I want, the other side is not my home, the mountains and rivers are broken, and my hometown is far away. At the beginning of 2014, on a rainy night, I watched "Tian Destiny" with a few elderly people in a small cinema of an art theater chain in Germany. The difficult dialect was matched with German subtitles. Then the cinema became more and more silent, and sometimes there was the sound of taking a deep breath next door. After all, this piece, like its anger, is out of place, and only has the right to tell the strangers. Jia Zhangke said in an interview that this time, what he wants to talk about in "The Old Man of the Mountains and Rivers" is very small, it is a simple emotional experience, and it is related to time. However, I saw the most distant spiritual wandering, the most powerless spread of sadness. He also said, "Making movies is my way of approaching freedom." But you and I are not qualified to reach the end of freedom, no matter in your country, which is careful to survive, or in other countries surrounded by various faces, you and I are brisk, but there is no way to escape. escape. There are countless people in the country, but my home is only there. My home is in the white mountains and black waters, and yours is in the Loess Plateau. If hope is dead, if nowhere is the motherland, if the homeland is so weak that only a tribute is left, when will it be time to return. Ye Qianwen sang in "Treasure", I can't bear to lose you, I hope things will turn around. Our past is scattered in the long river of time, looming and nowhere to be placed. Our future, in the torrent of the times, has long been doomed, and there will be no turning point. , and you left after all. Leave the ruined land, leave the nagging parents, leave the girl who spoke love and swears, leave the city shrouded in smog, leave the country without a sense of security, leave the closed ignorance, and leave the life kidnapped by lies. But I still can't find what I want, the other side is not my home, the mountains and rivers are broken, and my hometown is far away. At the beginning of 2014, on a rainy night, I watched "Tian Destiny" with a few elderly people in a small cinema of an art theater chain in Germany. The difficult dialect was matched with German subtitles. Then the cinema became more and more silent, and sometimes there was the sound of taking a deep breath next door. After all, this piece, like its anger, is out of place, and only has the right to tell the strangers. Jia Zhangke said in an interview that this time, what he wants to talk about in "The Old Man of the Mountains and Rivers" is very small, it is a simple emotional experience, and it is related to time. However, I saw the most distant spiritual wandering, the most powerless spread of sadness. He also said, "Making movies is my way of approaching freedom." But you and I are not qualified to reach the end of freedom, no matter in your country, which is careful to survive, or in other countries surrounded by various faces, you and I are brisk, but there is no way to escape. escape. There are countless people in the country, but my home is only there. My home is in the white mountains and black waters, and yours is in the Loess Plateau. If hope is dead, if nowhere is the motherland, if the homeland is so weak that only a tribute is left, when will it be time to return. Ye Qianwen sang in "Treasure", I can't bear to lose you, I hope things will turn around. Our past is scattered in the long river of time, looming and nowhere to be placed. Our future, in the torrent of the times, has long been doomed, and there will be no turning point. , and you left after all. Leave the ruined land, leave the nagging parents, leave the girl who spoke love and swears, leave the city shrouded in smog, leave the country without a sense of security, leave the closed ignorance, and leave the life kidnapped by lies. But I still can't find what I want, the other side is not my home, the mountains and rivers are broken, and my hometown is far away. At the beginning of 2014, on a rainy night, I watched "Tian Destiny" with a few elderly people in a small cinema of an art theater chain in Germany. The difficult dialect was matched with German subtitles. Then the cinema became more and more silent, and sometimes there was the sound of taking a deep breath next door. After all, this piece, like its anger, is out of place, and only has the right to tell the strangers. Jia Zhangke said in an interview that this time, what he wants to talk about in "The Old Man of the Mountains and Rivers" is very small, it is a simple emotional experience, and it is related to time. However, I saw the most distant spiritual wandering, the most powerless spread of sadness. He also said, "Making movies is my way of approaching freedom." But you and I are not qualified to reach the end of freedom, no matter in your country, which is careful to survive, or in other countries surrounded by various faces, you and I are brisk, but there is no way to escape. escape. There are countless people in the country, but my home is only there. My home is in the white mountains and black waters, and yours is in the Loess Plateau. If hope is dead, if nowhere is the motherland, if the homeland is so weak that only a tribute is left, when will it be time to return. Ye Qianwen sang in "Treasure", I can't bear to lose you, I hope things will turn around. Our past is scattered in the long river of time, looming and nowhere to be placed. Our future, in the torrent of the times, has long been doomed, and there will be no turning point. He also said, "Making movies is my way of approaching freedom." But after all, you and I are not qualified to reach the end of freedom, whether in your country, which is careful to survive, or in other countries surrounded by faces of various colors, you and I are brisk, but there is no escape. . There are countless people in the country, but my home is only there. My home is in the white mountains and black waters, and yours is in the Loess Plateau. If hope is dead, if nowhere is the motherland, if the homeland is so weak that only a tribute is left, when will it be time to return. Ye Qianwen sang in "Treasure", I can't bear to lose you, I hope things will turn around. Our past is scattered in the long river of time, looming and nowhere to be placed. Our future, in the torrent of the times, has long been doomed, and there will be no turning point. He also said, "Making movies is my way of approaching freedom." But after all, you and I are not qualified to reach the end of freedom, whether in your country, which is careful to survive, or in other countries surrounded by faces of various colors, you and I are brisk, but there is no escape. . There are countless people in the country, but my home is only there. My home is in the white mountains and black waters, and yours is in the Loess Plateau. If hope is dead, if nowhere is the motherland, if the homeland is so weak that only a tribute is left, when will it be time to return. Ye Qianwen sang in "Treasure", I can't bear to lose you, I hope things will turn around. Our past is scattered in the long river of time, looming and nowhere to be placed. Our future, in the torrent of the times, has long been doomed, and there will be no turning point.
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