"The Party at Southern Station" completely exceeded my expectations, and Hu Ge's starring debut in the movie made him stand on the big screen. After seeing some online comments before, I thought that this film was a so-called literary film that was deliberately contrived like "The Death of Romance", in order to create style, regardless of the story and not seeking truth.
After watching it, I found that I was completely wrong. This film is very down-to-earth, and it has a story and a sense of beauty. It can be called a good film like an aesthetic flower blooming in the mud-like bottom soil. The story tells the story of Zhou Zenong, the small leader of a car-stealing gang played by Hu Ge, who had a dispute with another small leader over land grabs. In the process of being wanted, the police, the little boss who calculated him, the wife, the pimp, and the swimmer all acted with their own goals. The whole story is full of layers and full of suspense. The story takes place at the bottom of society, and the bottom-level characters struggling to survive in the mud-like life make the film grounded to the extreme. The precise service and the blessings of the actors' Wuhan dialect make the underlying society in this film extremely authentic and credible, and will never leave the audience with a sense of alienation. But if there is only truth, it may lack highlights and appear mediocre, and this film successfully adds a different beauty to the basis of truth. The use of light and shadow in the film is very characteristic. Many scenes are carried out at night or indoors, and the light is mainly dark, but the addition of different colors and the contrast between light and dark caused by the light on the characters make many pictures look particularly beautiful, and they may be wonderful when they are frozen. Realistic photography. At the same time, the use of various shadows also appears from time to time in the movie, which plays a role in suggesting the fate of the characters. The most impressive thing is that when Zhou Zenong fled in a dilapidated residential building, the shadow on his wall has not become smaller, as if to indicate that In the end, he could not escape the tragic fate of the French Open. Another distinct aesthetic feature of the film is reflected in the violence. Whether it's Huang Mao's savage death when riding a motorcycle and hitting an iron pole, or the bloody umbrella flower formed by Zhou Zenong stabbing an umbrella into each other's body and propping it up from behind when he was fighting with Mao Er, it gives people a strong feeling. Sensory stimulation, with the beauty produced by violent aesthetics. After watching this film, I can't help but think of "The Unknown" and "Hot Pot Hero", which were also taken from the bottom of the film before, but this film seems to go a step further, inserting directly into the root of the bottom layer, and at the same time, it also puts violent aesthetics. The seeds are planted in it, and it has to be said that it is a rare masterpiece of realism.
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