When I saw the two masters Zhang Yibai and Zhang Jiajia in the "producer" and "co-producer" in the title, I felt that the film was "stable".
In the industry of domestic youth romance films, is there any director who can make stories more shredded than Zhang Yibai, and can make PPT better than Zhang Jiajia? They can vote for "Later Us", which shows that this film must have inherited the film aesthetics of the two.
Those who can be touched by "Predecessor 3" should also be able to be touched by "Later Us": For romance films with almost the same routine and the same emotional marketing, they can cry once, and don't care about another one. 10,000 times.
A huge aesthetic vacuum has emerged in almost all rapidly growing cities: for whom surface, external, immediate stimuli or a It's easy to leave the deepest impression.
It is hard to imagine that this is Fu Jin's summary of the mass cultural environment faced by Peking Opera at the beginning of the last century in "The History of Chinese Drama in the 20th Century", and it is actually equally useful to the main audience of today's youth films.
Approaching a movie theater in a third- and fourth-tier city dressed in bright clothes, pulling in three or five best friends and even carrying his boyfriend, along with the joys and sorrows of the protagonist in the movie, I suddenly remembered the ex who had been blocked on WeChat for 800 years. , accompanied by a straightforward theme song, to vent those tears catalyzed by "hypocrisy, hypocrisy, nostalgia, remorse".
Emotional resonance and emotional marketing are the keywords of current domestic films. They aimed at the lacrimal glands of the young people in the small town, brewing the box office of "Predecessor 3" of 1.94051 billion, and also spawned a series of record-breaking new gameplays of "Later Us":
A round of emotional marketing set a new record for Maoyan's "want to watch" history, and also produced an amazing result of 120 million pre-sale, which made me start to reflect on myself, I don't know much about movies and audiences.
Fortunately, on the day of the premiere of "Later Us", a large-scale refund incident was exposed by major theaters: stakeholders locked the film with super-high pre-sale through a third-party ticketing platform, and at the same time created false heat to the audience. On the one hand, it won 50% of the May 1st grade with a low-cost romance film with limited highlights, and on the other hand, it also attracted followers of the trend to rush to see this hard-to-get good movie.
I'm very glad that I don't understand this world too much. The popularity of this film is really tricky; I'm also very puzzled. I really don't understand your Internet + movie circle. Is the brand-new water-injection lock-in marketing routine so magical?
It's all so amazing, what a good movie to make. Movies have become a truly controllable business. Everyone has more novel routines and better resources. It is suggested that Liang Jingru's "Courage" can also be filmed immediately.
When "Later Us" became "Fake Us", the already cunning "tear-point marketing" was accompanied by the "refund magic" of Jin Chan's shelling, and the long-sick youth film market almost overwhelmed the last a straw.
From "To Youth" in 2013 to "Later Us" in 2018, the five years when domestic youth films became popular were the years of perseverance for the audience: you just escaped from Guo Jingming's claws and entered Zhang Yibai's territory again. Coming to Rene Liu is actually just an illusion of an old bottle of old wine.
Daydreaming, we drift north
It's good for people to have dreams, but Zhou Dongyu always shouts at Beijing, isn't it also embarrassing that "a gentleman has long ambitions, and a villain always has ambitions"?
When I was a child, I watched the young people in small towns who went to Beijing, Shanghai and Guangzhou to work hard. On the bus, on the square, on the bicycle, when they stretched out their hands and stood shoulder to shoulder with the sun, they would always shout excitedly: "Beijing! I'm going to make a fortune!"
At this moment, a sense of admiration flooded into my heart. Later, when I became an adult, when I saw someone shouting in a movie, I felt that this was too inspirational (sha) (bi), right? "Later Us" shows the delicacy of the protagonist's life in the North Drift, almost making people think that this is "The Us of the North Drift". However, under Liu Ruoying's hands, Bei Piao also showed a strange feeling:
First of all, Zhou Dongyu, who has no diploma, does what he does to earn money. It seems quite normal. But the boyfriends changed one after another, and they all wanted to get married and buy a house. In the end, there were always various reasons for blowing them away. It fully shows that girls who love (short) and laugh (small) also have bad luck sometimes.
Then there is Jing Boran, who has finished college. He is not looking for a serious job. He either sells Maria Ozawa under the overpass or sells parts in the computer city. The most formal job is game customer service. As a result, one couldn't help scolding customers and was beaten by the crowd.
Jing Boran felt that he was incompetent and lost his temper at Zhou Dongyu. Zhou Dongyu felt that Jing Boran was too decadent and left him. And when the two broke up, Jing Boran was full of chicken blood all of a sudden, designed a popular game that the whole city was playing, and suddenly turned from an innocent boy to a new star in the game industry.
The two met on the plane again, and it was a reminiscence of the past! Jing Boran, who already has a wife and children, pulls Zhou Dongyu to run happily on the snow, and the camera switches back and forth between memory and reality at will, like a stream of consciousness novel with no logic.
Zhou Dongyu is no longer a stray, and Jing Boran is no longer underappreciated. This shows that the characters of the hero and heroine are incompatible. You see, after the separation, the economic conditions have improved. No matter how hard they worked together, there was only a cold kiln leaking air and boiled noodles in white water. As long as they are no longer together, they will immediately be handsome and beautiful, and they will be happy with red wine.
Rene Liu's control of the rhythm of the whole movie is extremely out of control: there is not a single logical sequence in the 120-minute movie. The disorderly switching of the two sets of shots between Beijing and hometown, past and reality, makes the development of the story disorganized and the rendering of emotions stagnated. You can't even say it's a PPT, because even PPT requires each page to have a theme and logic.
Nothing but remembrance
I remember that in "Predecessor 3" at the beginning of the year, Yu Wenwen mixed an egg into the instant noodles. Han Geng hugged her from behind and said, "No matter how much money you earn in the future, I will eat your bowl of noodles when I go home."
Three months later in "The Next Us", looking at Jing Boran who was playing games, Zhou Dongyu said, "I'll give you half of the noodles." Then, he used a spoon to scrape out the last bit of the sauce brought from Jing Boran's father's house and put it on it. In the dish, he quietly said goodbye and left.
In "Predecessor 3", when the male protagonist and the female are in love, they discuss what to do if they are no longer together: Yu Wenwen said that he died of an allergy to eating mangoes, and Han Geng said that I will pretend to be a supreme treasure and say I love you again. Later, Yu Wenwen was allergic to mangoes, and Han Geng was taken away by the security of the square.
In "Later Us", when the hero and heroine rubbed their ears, they also thought about the same question: Jing Boran was developing a game, saying that if the hero Ian couldn't find Kelly, its world would become black and white. Later, Ian found Kelly, and the world returned to color, only they became who they were later.
The sensational point of the two films is "the predecessor", which is really similar. There is nothing that can hit young people in their twenties and thirties with one blow, except for the "exes" that everyone has. It is easy to recall the famous words of Romain Rolland:
" Most people die in their twenties and thirties, because after that age they are just shadows of themselves and spend the rest of their lives imitating themselves. Day after day, more mechanically, more pretentiously repeating them What you do in your lifetime, what you think, what you love and hate.”
After the reform and opening up, the single political, economic, cultural and social discourse environment has been greatly changed, which has directly led to changes in the environment for youth growth. In the new century, facing the environment of globalization, society has become more Because of fragmentation and more penetration by the media, people's identity is uncertain, and confusion and depression have become social emotions.
As a result, the ideals of youth films in recent years have become two-tiered: it is manifested as either having a "daydream" and writing about success easily; The past makes up for the emptiness and confusion of reality, and the writing of the ideal of youth lacks the original youthful motivation and courage to fight against the society.
"Later Us" is even more powerful, with both "daydreams" and "no dreams". Jing Boran can get rich overnight, and relive his old dreams after seeing his ex; Zhou Dongyu's biggest dream is to marry a Beijinger. It can't be said that a good marriage is not a dream.
After losing each other, the two seem to have been buried by their youth: Zhou Dongyu continued to change her boyfriend and keep her ex. Jing Boran listened to his wife's nagging about the children going to school, thinking about Zhou Dongyu who was not around. Apart from love, the hero and heroine seem to miss nothing. In addition to crying a lot, it is difficult for people in reality to cry in their own stories.
Small town youth, soldiers must fight
Some people attribute the success of "Predecessor 3" to the victory of the town's youth culture. The audience saw their own stories in the movie, and after crying and laughing, they recommended them to those around them. As a result, young people in third- and fourth-tier cities who do not often go to the cinema were successfully launched.
The data shows that among the audience of "Predecessor 3", audiences from third- and fourth-tier cities accounted for 47.4%, which is the highest among the films in the same period. The audiences in first-tier cities accounted for only 12.2%, which was far lower than the average of domestic films. Level; on the other hand, young audiences account for a high proportion, Tao Piao Piao data shows that "Predecessor 3" audiences under the age of 24 accounted for 68.9%.
We don't yet know what the box office composition of "Later of Us" will be, though the fraud is heart-wrenching enough. As a singer's cross-border director's work, the early popularity of "Later Us" relied on that song "Later".
The reason why it can appear alive in front of the audience is nothing more than a controllable cost, a set of scripts that do not require a lot of trouble, and can produce good commercial benefits after blending with each other. Therefore, such love stories always have a segmented audience in the market, but that's it. Don't be surprised, "Later Us" is a miracle of counter-attack at the box office with the help of new routines and small town youth. Being able to trick people into crying, whether in a first-tier city or a small town, is a "success" in a certain sense.
It's just such a "thoughtful" commercial standard piece, which undoubtedly makes the domestic youth film "the house leaks and rains overnight".
Looking at the script, "Later Us" continues the fragmented and juvenile style of domestic youth films, the plot is illogical, and love relies on slogans. Looking at the characters, the setting is fixed, and the performance is rigid. Zhou Dongyu's chest brat loves wandering, and Jing Boran plays games on a whim. Except for a few scenes in the hometown and the rental house in Beijing, most of the scenes discussing the issue of gender relations in the film are in hotels arranged by airlines.
In essence, it is a product of the mutual blending of some emotional bloggers' chicken soup-style jokes and the feelings of their predecessors. I would like to call them 10w+ movies. There are jokes but not advanced enough, tears but forced sensationalism. The cinematic sense does not exist.
It does not mean to despise the young people in the small town. In the past two years, this group has frequently carried the box office banner of movies, while suffering the accusation of "insufficient aesthetic ability". Why are they willing to pay for a ticket to see a movie that the pros see as simple and crude, and then think it's fine after watching it? Because as long as you carefully read the reviews on the ticket-buying website, you will find that it is true that the movie sucks, and their emotions are also true.
The crux of the problem is that no one will stay in the stage of new audience forever. The audience will mature in the process of appreciating the works, and this kind of maturity will in turn force the creators of art-domestic youth films in first-tier cities in the past two years The total rout of . Later audiences became people who couldn't shed tears when watching romantic movies, but the reason was not their own.
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