#王女# 1971, directed by Hu Jinquan, co-starring Shi Jun, Xu Feng, Bai Ying, Tian Peng and Miao Tian. In Xiongfo West Building, Shanghai Theater Academy. The 28th Cannes Award for Best Technology and Visual Effects was the first time for a Chinese to win in Cannes. Together with Hou Hsiao-hsien and Chen Kaige, there are only three Chinese directors who have boarded the opening stage of the Cannes screening. Okay, here comes the point. This year, the Shanghai International Film Festival selected and screened the 4K restoration of the empty mountain and spirit rain by the Taipei National Film Center.
It happened that I also watched Wonder Woman recently, which made me cheeky to rub the heat.
#Wonder Woman# , a typical Hollywood popcorn movie, the biggest highlight may be the shaping of the heroine image... Fast-paced, compact development, simple and reasonable plot, high quality at the beginning and end of the movie The fight scenes are lighthearted and witty, interspersed with scenes of women's declarations. Some of the declaration-style lines felt embarrassing, and the whole person was a little restless in the second half. I like the scene where the male protagonist explodes because it is too reasonable. 'I save today, you save the world'.
The chivalrous woman is also a tough female character, and the chivalrous woman is more calm and shocking. Although I was dizzy for 3 hours (especially when I hadn't eaten for a whole day). Chivalry is adapted from Liao Zhai Zhiyi, but the director deliberately concealed the strange and fantasy part during the adaptation process, focusing on the feelings of family and country, religious Zen and the binary opposition of good and evil. The female protagonist is neat, capable and responsible, and is often the most pioneer after never falling behind any male.
The fight scenes in the film are still classics of Chinese martial arts films, and the two most impressive scenes are the one that happened in the ancient house with less to many, and the other is the head-to-head fight in the Zhulin Huiyuan master of the Chanyuan. With the huqin, Peking Opera drums and opera steps, the rough and simple intersection of fists and feet is endowed with more cultural mapping charm. In particular, the religiousization and legendization of Master Huiyuan is simply addictive. Now I still remember the scene where the master jumped from the stream rock with the Buddha light in the upside-down shot. Violence is the means, and redemption is the goal.
(The actors in the film did not fly over the eaves and walk the walls, but used bouncing to speed up their progress)
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