movies are the encounter between soul and soul, and also the process of soul discovery.
When the lights in the theater are dimmed and the movie starts showing, the eyes and thoughts are guided and taken over.
Over the years, I've gotten used to this way of movies.
Some movies feel like a roller coaster: thrilling, thrilling; others are like stage plays, where we're watching long-awaited tacit performances whose content and ending we've all guessed.
Obviously, storytelling has a natural habit, that is, the dramatic plot of the plot is more likely to attract attention, and people have become accustomed to this way. Only the simple logic of the story can make people break free from the background and feel Be respected and find the joy of understanding.
Of course, not all movies are like this.
Watching Jia Zhangke's films will make some people feel dull. His films (like "Platform") are sometimes just one long shot, and then, moving or motionless slowly and deliberately, is as sluggish as time.
The scenes of life that are too real, and the details that are too real, are exactly the same as our lives.
For those who are in a hurry, it is simply torment.
"What is he trying to express?"
Whenever this happens, I think of a sentence: the fish is always the last to see the water.
There is a very simple way to understand Jia's films: think of everything the camera presents as your own eyes.
When you are separated from the familiar background, you begin to learn to "look" at the world seriously, the details of life, the dramatic conflicts come to you step by step.
Life is more dramatic and sharper than you might think.
This kind of film, like a documentary, everyone can find himself: the fate of people, the ups and downs of life are all in it.
Sugar
"Three Gorges Good Man" tells a story about choice.
Han Sanming, a man from Shanxi, spent 3,000 yuan to buy a woman from Fengjie, Sichuan. The women were successfully rescued by the government and returned to their hometown with their daughter.
16 years later, Han Sanming took the address left by his wife to find someone. His idea was simple: he just wanted to see his children.
After a difficult search and waiting, he met the woman. I saw the daughter in the photo. At this time, my daughter has grown up and went to work in the south.
He said to the woman, "How are you doing?" The
woman said, "Not good." The
woman said, "Why didn't you come early or late, and come to see me now?"
He said, "My mother treats you So good, you won't be allowed to go to the ground even after confinement. You still have to go." The
woman said, "When I was young, I was ignorant."
Finally, Han Sanming made a decision for himself: he wanted to take the woman out of this place. .
He was willing to repay the debt for this woman, and he decided to immediately return to Shanxi to go to the coal mine to make money. Come back to pick her up in a year.
Before he leaves, he ends up on a date with the woman in a run-down building that's about to be demolished. The woman took out a candy, he ate half, and the woman ate the other half. The two cuddled happily, looking at the unpredictable distance. Shen Hong (played by Zhao Tao), a woman in Chashanxi, stood on the shore and watched the flying saucer fly into the distance
. She came to the Three Gorges to find her husband, whom she had not heard from for two years. She is also trying to make a decision for herself. Two years in life is not too long, nor too short. She didn't know where this former man was now and what he was doing. It seems that as long as she is still alive, he is all right. She heard that her husband was incapable of doing things, and he was in a hurry: attending various social events, he was too busy to find the north, and he couldn't see anyone; she saw her husband's horse slashing at people, and she saw her husband's legendary lover. . . She finally met her husband.
The last time they held hands was by the dry riverbed. The husband tried to hold her hand, and the two hesitated to dance, as if recalling the beats of the past, but they couldn't coordinate.
Between them lies something that can never be salvaged.
In
life, some things can be chosen, and some things cannot be chosen.
The city of more than 2,000 years has been demolished and submerged in a few years. Some people have choices, while others don't.
During Han Sanming's search for his wife, he met three people: Brother Xiaoma, the owner of Tangren Pavilion, and the cook with a disabled husband.
Brother Xiao Ma, a child who admires Brother Fa, lived in the years of Hong Kong-made films and imagined that he was living in Jianghu. He said to Sanming:
"We are not suitable for this era, we are too nostalgic."
This nostalgia is full of nostalgia. Dreamy child, killed in a fight for a living.
The owner of the Tangren Pavilion lives on a meager rental fee. With the continuous demolition, his business could no longer go on. After the migrant workers demolished the house, the next step was to demolish the Tangren Pavilion.
The cook finally made up her mind to leave her disabled husband and go to Guangzhou alone with the boat.
Sanming asked: What should he do?
The cook said: There is no way, people always have to live on.
Life at this time is like duckweed, floating in the wind.
After the migrant workers finished their work, they wanted to follow Sanming to dig coal because they could earn 200 yuan a day.
Sanming told everyone: Most of them are black coal. If you go down in the morning, you don't know if you can come up at night.
Everyone bowed their heads and drank.
The end of the film is like this: a
new day is coming, everyone packs up their old bags and prepares to go to Shanxi to dig coal with Sanming. In order to live, they have no choice.
People always have to go on.
Sanming stared at this cloud-shrouded city for the last time, as far as he could see: not far from the horizon, someone was walking on the aerial ropeway where their lives were hanging by a thread.
He didn't know if it was an illusion, a performance, or life itself.
Vinegar
To date, I have not seen a movie that so profoundly shows the reality and absurdity of the times we live in.
The oppressed living environment, everyone's inner pursuit, and the struggle and compromise with reality.
We live in a magical background, we see flying saucers, rockets, and happily sing "Two Butterflies" like a boatman's child, as if walking through reality and dreams.
We thought we had a lot to choose from, but we couldn't. The living space, overnight, may be wiped out, and we are at a loss: we are too nostalgic and no longer suitable for this era.
But we can still live like ants and be as strong as all living beings.
Each of us may be Han Sanming, Shen Hong, or Xiao Ma.
Our whole life is a choice, in a limited space, stubbornly live, live for our own happiness and dreams, live, live to the end.
First release: Sneeze www.dapenti.com
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