I actually prefer its English name "The Farewell", because the story is about a loving farewell, farewell, farewell, how accurate.
I was very moved from beginning to end. On the one hand, I was moved by the sincere emotions of director Wang Ziyi, and on the other hand, I was moved by the real China under the camera. This movie is about Wang Ziyi's own story. She was in a real conflict about whether to tell her grandmother's illness. She explained her various experiences and feelings in the process to Everyone, she is sincere. At the same time, China under the camera is also real and lovely, with the rows of neat slabs flying over the overhead, the subtle conversations between members during family dinners, the mobile food stalls in the noisy market downstairs of grandma's house, the people with different looks at the lively wedding. Guests and waiters... There are many, many details worth looking into. Because many plots in the story are driven by group scenes, in addition to paying attention to the main characters who speak, the camera also records the surrounding situation from time to time - the expressions of the secondary characters, the decoration as the background - the pictures from different directions Jumping in the audience's mind, like a vivid scatter perspective, together form a rich set of intentions.
The director looks back at the "homeland" of his predecessors as a Chinese American. This kind of gaze with a sense of distance makes the lively pictures rich and not "sticky". They are lined up in 1511 characters, very clear It can be discerned; at worst, it can also be interpreted as "stiffness". If a Chinese director organizes the scene and expresses human feelings, it will definitely appear more "soft and silent", but I think "stiffness" It is suitable for this movie. If everything is as moist and blended as a voice-over, how can the audience feel the "unfamiliar" feeling of the "I" in the story to the surrounding environment. But on the other hand, the collision between Eastern and Western cultures that this film wants to embody is not "fierce and violent". This difference, catalyzed by the "love" shared by all mankind, has become a kind of "exploration and Compromise" and become very soft.
I still feel that Wang Ziyi still retains the oriental charm and sense of timelessness in his heart, such as this ending that I particularly like: "I" returned to the bustling streets of New York, standing in the busy crowd "I" Thoughtfully, suddenly, "I" shouted like grandma's morning exercise. The camera cuts to the old building of the hometown, and the birds in a big tree are frightened and fly away, leaving only lush branches and leaves. This reminds me of the end of "Xiangji Xuanzhi", the loquat tree with a pavilion like a cover, is also so quiet and long.
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