Of course, to this day, I certainly don't know what those moviegoers who were on the other side of the cultural divide thought. Therefore, I can only talk about my feelings about this "god and ghost talk" by looking at the next door.
The first feeling when watching "Strange Talk" is like watching "Liao Zhai". This kind of bizarre and magical story is familiar to Chinese viewers. It is precisely because of this that I can quickly give this film a personal position. It is an extremely pure oriental work - pure oriental beauty, pure oriental horror, and pure oriental rich artistic conception.
"Strange Talk" has the attributes of a horror movie. However, when it is put into the public eye, not many people may regard this movie as a horror movie. The intimate atmosphere created by the creators painstakingly seems to have passed away to nowhere in the process of watching the movie, not to mention the feeling of trembling in retrospect. That's the no-horror conclusion, you can't refute it, because purely personal experience, as long as it's true, is absolute.
However, from a more personal point of view, I would still like to see this film under the definition of this type of film. It's not because the film scared me, and I may not be afraid when I think about it, but after thinking about it, you will find that the treacherous experience is very stimulating to the imagination.
"Strange Talk" is a chapter-based structure, and successively tells four stories, "Black Hair", "Snow Girl", "No Erfang One" and "In the Tea Bowl", which are divided into four and unrelated.
Among them, "Black Hair" and "In the Tea Bowl" have a high starting tone and heavy white space at the end, especially "In the Tea Bowl", which ends abruptly, leaving a heavy aftertaste; "Snow Girl" and "Wu Er Fang Yi" are relatively In terms of the integrity of the story, one is a fox-like fantasy story, and the other is a ghost story, each with a gloomy ghost.
As the old saying goes, a film that dares to challenge multiple stories, especially a well-established film, although the story is fragmented, there must be a coherent thing at the core. It's "Liao Zhai Qi".
Such new words are crude, but also intuitive. The reason why I added another word after "Liao Zhai" is because the story and drama are not the focus of this film. The kind of surrealism that Westerners call it, the mysterious feeling we call it, is the most irresistible. something that spews out of the work.
And all of the above are implemented in every corner of the work. The richly-toned sets, the soundtrack of the loud and the sound, the still-moving shots, the arrangement of various elements, whether it is within your cultural field It's still a person outside, but if you see it a few times, you can shout it out. This is the presentation of a culture, music, literature, drama, strange stories and the beauty of artistic conception displayed to the extreme.
As for the type of story that is also familiar to us, it happens to be the perfect carrier of this artistic conception. It is subverted by evil charm, and the power is chaotic. It is not so much that it is unilaterally spawned by the cultural environment, it is better to say that it is a complementary relationship. , born in the cultural environment, and fed back in the cultural environment.
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