While the style of the sci-fi movie has not yet been determined, "2001: A Space Odyssey" was released, and the audience was tormented and left the theater. The water is unknown, so he scolded the director for not making movies. Of course, it's not the audience's fault. They are not regulars of Xiaoxitian. What's the point of applauding after watching the movie?
In my opinion, the best places to watch "The Last Night on Earth" are as follows:
1. The dreamlike overlapping of time and space created by the unreliability of memory.
For people with a trance-like memory, everything that happens is questionable. In the film, the male protagonist pulls out his past memory from the death of his friend, trying to confirm the answer he has already believed. However, the fact is not like that. After falling in love with the enemy's woman, being arrested, eloping, and parting, everything starts to become unreal. In the end, he did not find the person who eloped with him, but found a woman who fell in love at first sight in another space. When their love happened, the fireworks quietly burned out and the dream would wake up.
The grumbling, ignorant story is a bit like the beautiful love written by Wang Xiaobo.
At the beginning of the film, Luo Hongwu explained with a low narration, the death of his father and the death of the white cat, this vague memory. He tried to find the truth behind the death. If this is a clear detective story or a love story, then the film is very bland and boring. The sublimation is that it transitions from suspense to love, and this love makes Luo Hongwu deeply involved. To sublimate again is to fall into another love that is as charming as fireworks. For Luo Hongwu, the two loves are unreal, one is a deception, and the other is a self-interpretation that cannot extricate himself after being deceived. Coupled with Nakajima Miyuki's sad love song at the end of the film, isn't this man very embarrassing in front of love?
From story, characters, to camera language, "Last Night on Earth" is undoubtedly an upgraded version of "Roadside Picnic". Both use poetic narration to tell stories in memory, symbolized by circular clocks and other scenery. The sequence of time, the use of long-mirror technology to realize the dream is both true and illusory. These languages constitute the unified image style of "Roadside Picnic" and "Last Night on Earth", and they are worth pondering carefully. However, "The Last Night on Earth" has the blessing of first-line stars, and the first-line teams such as Lin Qiang, Huang Zhiming, and Dong Jinsong escorted the production. The overall level and the completion of the film are much higher than "Roadside Picnic". In the first two works, he found his own image language, no doubt as if a painter drew his own style of painting.
The poetic narration is extremely author-like. It belongs only to the imagination of the protagonist in the film, and it is also the director's personal self-expression. It is just right that he speaks in Guizhou dialect instead of Mandarin. Mandarin has no artistic influence in front of dialects. Damn, I can't imagine how numbing the narration in Mandarin can be, like a CCTV show that destroys the real taste of poetry.
The circular clock is not only a symbol of time memory, but also a top that distinguishes reality from fantasy. In addition to the round clock, there are also blurry photos, red hair, dancing girls in the ruins of a small town, pop songs of the 1970s and 1980s, and ping-pong paddles that can spin and fly, all of which form the pits of memory, in the past The time node is branded in memory, and I am convinced. Let me ask, what is left of our memories of the past, apart from these figurative things, are there other processes?
The long take of "Roadside Picnic" was questioned by many directors, saying it was a long take for the sake of the long take. I also think it has a lot of dazzling elements. This time, "The Last Night of the Earth" is still flying on both indoor and outdoor carts and cableways. Although there are still flaws in several transition points, and the composition of the camera and the focus are a little delayed, the dreamland is wonderful enough before the advent of a moderately prosperous society. The challenge of complex scheduling of long shots is realized ahead of time. I especially like the dream of the 3D lens, which is undoubtedly a very good idea. Some directors cater to the audience's darlings, while others inspire their darlings. The language of images always requires breakthroughs and challenges. Russian Ark challenge.
The above are the main image language forms that constitute dreamlikeness. No two, three, four...
In particular, it is the music in the film. The electronic music in the dream part is mixed with the looming Dong songs. Aside from Lin Qiang's accurate understanding of the taste of the film and his ability to control the soundtrack, those old songs are selected enough to make people infinite. Aftertaste. The Japanese songs that appear several times in the film are the songs of the old Japanese singer-songwriter Nakajima Miyuki when she first debuted,アザミ嬢のララバイ, the lullaby of the Chinese thistle girl. The songs she sang can be said to have won the eighth century of the last century. The whole Chinese pop singer in the 1990s. The glorious period of Chinese pop music, thanks to the Japanese singer-songwriter. When I think of Luo Hongwu's infatuation with a short and beautiful love like fireworks, only the Japanese song can accurately express the charm.
By the way: I started seeing the various pushes of "The Last Night of the Earth" a few days ago. Selfishly, I don't want it to get such attention. Behind this is undoubtedly the bottom-line game between the producers. The reason why I think so is that I hope it should be different from commercial films, not to say how different art films are, but from the current domestic literary film market, after all, there are very few people who like it. The crowd, instead of letting the art film hang on the street and be scorned by others, it is better to put it on the screen that belongs to it at different times. I even hope that in the future, art films can be as accurate as a cookie on the Internet to capture preferences and push them to those who like it. Looking at it now, "The Last Night on Earth" is sent to everyone as "Last New Year's Eve" as a common commercial film. It is also a simple and rude way. The domestic popularity of art films will eventually appear sooner or later, even if Today, there is no "Last Night on Earth" as a stepping stone, and "Last Dawn on Earth" as a stepping stone... So, it can be said that it officially opened the window of domestic art films. After all, before this, there were many movies that confused the audience, and those who were so confused still received so much attention. As for whether it is understood or not, whether it is praised or criticized or not, it is not a problem, just leave it to the film critics to judge.
As for everyone's goddess, Tang Wei, I think she's a little fatter, but she's more real and beautiful than any previous film.
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