In the past few days, several friends have asked me if there are any swimmers in Wuhan. There are really no swimmers in Wuhan, not now, nor in 2009. This profession is not suitable for the weather in Wuhan. I really want to rant about the plot of this movie again. First of all, can Brother Nong kill the police and run away? No, then his ending is either the death penalty or the direct killing. Secondly, can the public security organs offer a reward for reporting to the public, can Brother Nong be deceived into being a family pension? No, it is obviously not in line with the core socialist values. Since the setting and ending cannot be changed, the result is known at the beginning, so what do I see? I don't just want to see the process of communication between characters, to see the emotional expression of the characters during conflicts and conflicts, to see those processes that I can't guess or think of. Is it to see the light, shadow, rain, and lake that the director has arranged? The plot is full of Chinese artistic sense, with long shots, short dialogues, and a few bloody scenes that are caught off guard in the middle. I was hit on the head with a blunt object, and I couldn't judge for a while. After pondering it over and over again, because the scene was too real and turbid, I felt a sense of nausea and resistance. I have also seen a lot of violent aesthetic movies. This is my most intuitive feeling. I have never seen a movie with such a headless plot, and the protagonist will tremble in the mud to examine the body. To give a large group of long shots is really a bit bad. Life is already bad, and who wouldn't want to relax and immerse themselves in another world after going to the cinema for two hours, only to watch a life that is even worse, chaotic and hopeless? The Palme d'Or gave "Parasite", which is indeed the gap in the director's level. The theme of "Parasite" is also very dark and dark, but the director's plot design is very smooth, which makes people's emotions fluctuate, the contradictions are clear, and the characters' The emotions are also very full. Looking back at "The Party at the Southern Station", the characters' emotions are too obscure, so obscure that I can't understand which emotion the characters are in for each choice. Brother Nong knew that he was desperate and wanted to leave money for his family, but did he have feelings for his wife and children? At least I didn't see it in the movie, until Huahua suddenly said, Brother Nong wanted his wife to report him to get this reward, I just realized, oh, so he wanted to meet his wife at the station for this purpose, dozens of minutes before , you at least let me see a little bit of signs, at least let this setting be a little more natural. There will also be a photo of his wife and son in the Nima American movie. In this movie, a dove tattoo implies that he is a family lover, and Sherlock Holmes can't guess it. There is also the choice of wanting my wife to take the bounty. I feel that I did not do it after careful thought and ideological struggle. I was too lazy to run, and I couldn’t turn myself in because of this bounty. If the toothbrush is dirty, let’s see if it can be used to brush shoes. Although it is said that this character will not have any high ideological awareness, but it is not enough to treat human instinct as omnipotent. Everything can be explained by instinct, seeing Huang Mao tragically dying, being injured, and being hit by high beams When I saw it, I shot and killed the policeman in panic. During the escape process, I habitually stood in the dark, afraid of meeting people's eyes, and I was nervous. There is no problem with my emotions, but what are the character characteristics of the character? Except for Hu Ge's face with a protagonist's breath, I really don't see how this character looks like someone who can be a big brother. The role of Yang Zhilie has the role of the little gangster who blindly worships loyalty Don't be low-key, you have to show what others are selling in front of everyone, and people who steal cars are not allowed to sell du, that sentence "don't think I don't know you want to sell magu here" , where did this sense of superiority and justice come from? I thought it was a police undercover if I didn’t read the movie introduction. For such a big case, a reward of 300,000 yuan is offered, and your brothers take the risk to contact your wife to get the money. Anyway, the setting of the number one younger brother is the wife's younger brother is enough. In the end, some socialist wool is put into your purse. I swear, I also get someone to call you Brother Nong. Anyway, let's be a little big brother. Everyone steals cars and grabs land together, and doesn't arrange assignments. Except for the two female protagonists, are the others all tool people? It's no wonder people turned their heads and sold you. Liu Ai'ai is also inexplicable. Just when she started looking for money, she was a little afraid and a little worshipped after getting along with her. She developed a feeling of affection. Brother came back to find her after the counter-attack, you ran nm, you were very bold in front, dared to give money, dare to make money, dare to do things, and now run without saying a word? What kind of scene does this belong to? Can the director explain Liu Ai'ai's inner activities at that time? The most incomprehensible thing is that he was inexplicably qj on the way. Is there an emotional connection between her and Brother Nong so that she can finally keep her promise when Huahua and others are dead? There is also Brother Nong’s wife, who seems to be an outsider from the beginning to the end, very numb, there is really nothing to do with such a bastard husband, and it is difficult to verify how deep the relationship is, but her brother is dead, and the man is in this situation, but she It seems that the person with the coolest thinking and the clearest mind in the whole movie, when the police came to the house, made them speechless, kept tight-lipped and determined not to reveal a word, so that the police knew she was lying and could not do anything about it. I admit that the handling of shots and light and shadow is very artistic, but the connection of this story is too poor, it is not smooth at all, the director has built up a world of more than 100 minutes, a curious story, bizarre cities in southern China, urban villages, accompany swimming Female, the gang of stealing battery cars, the troupe of the greenhouse, the railway station, the dialect, and the construction of a Wuhan with a sense of age, all that is satisfied is the curiosity of foreigners. What kind of girl in a bottle in a troupe, you said that in the 1990s, there was still this kind of deceitful trick. I just saw it in elementary school, what a girl in a vase, a two-headed child, a little snake's nostrils go in and out of her mouth. Who was fooled by this in 2009, I can't even play in the valley. Besides, Wuhan is one of the strictest cities in the country where motorcycles are banned. In 2002, new cars were banned from being licensed in urban areas. In 2009, there were really not so many motorcycles that could be stolen on the streets. Art comes from life is higher than life, it's okay to move flowers and trees, but is this setting of accompanying swimmers really necessary? The director feels Conscience says that the setting of accompanying swimming is necessary, not to satisfy the curiosity of foreign judges? It is called Wild Goose Lake and the background is set in Wuhan, the city of a thousand lakes. The main actors are not from Wuhan, but they all speak Wuhan dialect. It does not mean that they have to be critical and ask to be more authentic. There is a feeling that no one of the main actors dares to speak out loud It's the same as wearing two words more, on the contrary, the supporting characters show their emotions. Everyone has different preferences and opinions when watching a movie. Some people praise it and some people step on it. I didn’t charge money to black this movie, I just want to express my true opinion. The use of light and shadow is proficient, and many shots are worth recalling from the composition to the perspective. For example, when Liu Ai'ai appeared, the long shot from the umbrella to the shadow to the feet to the close-up of the face, and she and Brother Nong were leaning against the outer wall of the train station. Brother Nong moved from the bright place to the dark place. Some color processing and soundtrack can set off the atmosphere very well. From a technical point of view, there are many advantages, and the display effect is also very impactful, but this movie has no soul. There is nothing to think about. The whole story, if expressed in words, is a little richer than the press release of social events.
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