No more works. The reason is that after Jia Zhangke became famous and had a large budget, he still adopted the same method of using a lot of original real scenes that he used when he became famous.
Other directors, when they have a budget, start to hold it up and start square, even Kelly Reichardt, who originally shot the ultra-low-budget Whispering Core. Jia Zhangke did not, but he still shot like a teenager, which is very rare and admirable.
Therefore, God's reward for him is that large expanses of landscapes, huge blasted houses, and bright bridges have all become the background images of the characters in his works. Almost a kind of magic. This is something that is no longer possible to perform successfully in another way.
The opening scene was amazing. In fact, it was the effect that "Plumbing in the Spring River" spent the entire film trying to achieve—a scroll painting of ancient China that slowly opened. Jia Zhangke is too smart to photograph "faces" instead of "landscapes"—the faces of the working people in China are a contemporary landscape!
In the past, Xiaoxian and Jia Zhangke had a good relationship, but later he felt that Jia was wrong. In fact, the reason lies in the difference in their movie concept. What Xiaoxian pursues is the "nature" that is infinitely close to reality, which is why he said, why soak a rope in oil, after soaking for a long time, the rope will be full of oil, and he only needs to tap the rope Just a slice of , and something like that.
As for Jia Zhangke, after he was first moved by something, he started his own screenwriting process - often just a very simple "action line", such as "searching" here. There will be obstacles one after another in the process of "finding", but they are almost all clever and boring obstacles.
But Jia Zhangke's focus is not here. Apart from his observational skills, his most powerful work is that he seems to be weaving a huge net and pulling out this net with action figures. And he is most interested in the connections in the net. These connections are RMB-Kuimen, mobile phone ringtones (Shanghai Beach)-videos of immigrants in the reservoir area, and even an inexplicable connection such as Han Sanming-UFO-Zhao Tao.
In other words, in his heart, or in his head, there is a whole set of pictures of people connecting with each other. The structure of this picture is like a net, and he only needs to shoot this net—that is, this social picture - just won. This is actually very avant-garde film thinking. No one has ever played like this, and he has the guts and confidence. It's an advanced movie. Maybe he didn't think so, but it didn't matter.
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