This is a movie you can sleep in comfortably if you will.
The last sentence is a compliment - sincerely. There were a lot of chores during the day, and I happened to be a little tired after dinner. I looked at Nie Yinniang half-consciously, and almost fell asleep several times in comfort. When I was shocked, it was five years later. The Taoist aunt and master sent Yao Qi home. The maids served Yao Qi and changed into their daughter's clothes. An older maid bowed her head and said that after Yao Qi left, the lady kept Yao Qi as she imagined every year. Like, make a dress.
At this time, Yao Qi had a condensed movement.
In the background, there were one or two melodious bird chirping, the sound of wind, and the sound of smashing eaves. Not a single shot speaks of this environment, but it is absolutely immersive. It was as if Director Hou had moved an entire urban garden into a movie theater.
Nie Yinniang in the legend of the Tang Dynasty was a wise man at first, then calm and wise, and finally intoxicated and graceful. It's a bit of a self-obsessed, colorless and dull meaning.
When Yinniang first appeared, she was ten years old, and there was no positive description in the text, except that "there is a nun begging for food in Fengshe, and seeing Yinniang, she was delighted, and said: 'Ask the yamen to beg for this female sect'." Yinniang Of course the father refused the nun's absurd request. According to the conventions of the rivers and lakes, this should be the part of ruthless words:) The nun master is not like the thief Chu Liuxiang. , and you have to steal it." Duan had the demeanor of a queen. After reading the text, Yinniang recounted her experience in the mountains after her return. The nun master already had two female disciples, "both smart and graceful". Judging from the nun's almost paranoid love for Yin Niang, Yin Niang is naturally a smart and beautiful girl.
After Yinniang returned home, her parents were curious about her experience. Yinniang said, "I just read the scriptures and chant mantras at the beginning, and I have nothing else to do." Her father didn't believe it, and Yinniang said, "I'm afraid I don't believe it, how about it?" My father said, "But it's true."
The consequence of the truth is my father Totally terrified of my daughter. It feels like you're expecting a delicately carved goldfish, or a dragon's eye, or a butterfly's tail, clearing the desk, don't make fun of it. But when the net was closed, it was discovered that what came back was a great white shark with outstanding life energy.
The Yinniang in the back lived very arbitrarily. She chose her husband, fired the old boss, voted for a new boss, and successfully earned a few excess experience points. In the end, he sincerely helped the successor CEO.
What I was particularly moved by was that "Yin Niang suffered nothing, but she was intoxicated." It is the integrity of the rivers and lakes, and everyone has it. But in the words "intoxicated and gone", there is a special affectionate look. Knowing it cannot be done, and doing it; knowing it cannot do it, and indulging in it. Generous, spirited, sad, free and easy, all. And this dazzling brilliance actually appeared on a woman.
If the Yinniang in the legend of the Tang Dynasty is said to be a free and easy hermit song. Then the Yinniang in the movie, Yao Qi, is a lonely silhouette in black and white with a touch of love, with a taste of self-imposed exile.
The first few minutes of the movie are pure black and white. I actually saw a little bit of Rashomon's meaning. The Taoist nun in white stood with a whisk and slowly said, how should this officer be killed. He also said that Yao Qi killed him, it should be as easy as killing a bird, which shows that Yao Qi's skills are extraordinary.
If you just listen to the judgment of the Taoist nun Princess Jiaxin, you should really kill it.
But when Yinniang came to the second family to be killed, Mingzhu was on file, the child played Cuju, and the old father lifted his beard to watch. Finally, the child was tired and fell asleep on his father's knee. Yao Qi floated down, watching this scene of serenity hidden in the peace after the joy.
At this moment, no matter whether the justice behind her is like a white rainbow shining through the sun, she is indeed shocked by this happiness.
There it is black, here it is white.
The film is also full of such rich and complex interactions. To the court, Tian Ji'an is a giant with wolf ambitions; to his wife, Yuan Shi, he loves concubine concubines internally, and is turbulent externally. He wants to completely digest her father's political legacy, so he is not a good person who can be trusted; For the vassals of the Qing Dynasty, he was a powerful and domineering ruler, and he was a dangerous and fierce monarch. For Yao Qi, he is a heartless person who has let down the former alliance. Thousands of mirrors form an image, and the void turns to ashes, but for Hu Niang, Tian Ji'an's mirror reflects the light of youthful love, jumping, flowing, and twisting. For the people of Wei Bo, Tian Ji'an was more aggressive and immobile like a mountain, a peaceful barrier between the imperial court and Wei Bo.
Yao Qi in the film is also lonely and hesitant because of this. No matter who, facing such a large number of true and false questions, will feel hesitant and uneasy, right? What's more, Yin Niang is also a warm-hearted person.
When Yao Qi appeared on the stage, he mostly bowed his head, lowered his eyebrows, and lowered his posture, which made people feel sorry. The father used to represent closeness, but now facing the return of his daughter, he is full of regret and incomprehension. The mother is the identity of the narrator, repeatedly telling the various entanglements in the past, reminding the princess of her love for Yao Qi. She loves Yao Qi as always and has hope, but as time passes, the mother and daughter are more alienated. , her hope also increased Yao Qi's pressure. Tian Ji'an, the lover of Girls' Generation, Yao Qi's imaginary sample of a quiet life now, is also the mission target she must kill.
Yao Qi's dilemma is that she has to find her own worldview - this person, to kill or not to kill? The young man who wears the mirror is only the consolation after the falling flowers and flowing water are gone. At this moment, no one can break the game for her.
Similarly, when watching the movie, we are also faced with the choice of breaking the game: can we slow down, slow down, appreciate this cloud-filled peak Ling Jueyi, and understand this picture of a Tang Dynasty lady with a veil and candle flame, it is clear to me Seven last intoxicated I do not know the way back.
When Qingluan looked in the mirror, what he saw was the loneliness of the princess who descended from the town, what he saw was also the desertedness of Yao Qi, who was not in the past, what he saw was the sadness and warmth of director Hou Hsiao-hsien to the flying light.
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