The film's premiere at the film festival is also a helpless move for the marketing of literary films. If it is directly premiered in domestic theaters that attract the audience's attention by the lower limit of the show, most of them will also get box office revenue corresponding to the grass-roots characters in the film. It is very different to go abroad to participate in the exhibition first, just like the rich second generation who only sleeps, eats, and picks up sister paper, wants to change their taste and goes abroad. Whether it is gold or not, it can blind the public's "dog eyes"! "Sister Peach" won a very good reputation at the film festival, and then participated in the Golden Horse Awards and the Hong Kong Film Awards, and won several awards before it was released. This practice of first obtaining word of mouth and then drawing at the box office basically ensures that the film can recover its cost and make profits at the same time, and also points out a new way for other literary and artistic film marketing teams. This new road has relieved the box office panic of literary and artistic films that has existed in the Chinese film industry for decades! This marketing method seems to solve the box office problem, but it is very demanding on the quality of the film itself.
I remember that the so-called literary films of the previous generation were basically the audience of mother-in-law and auntie-level teachers or short and poor tissue consumers who needed a film source to soothe their souls. Now, my daughter-in-law was ruined... Lu, Lu, Lu again... stripped... Slowly formed the so-called commercial routine of literary films, and the panic of the theme of literary films that followed can be imagined. "Heavenly Bath", "Summer Palace", "Lust and Caution", "Sunny Days", "Peacock"... These films are either suffering or selling meat. It is no wonder that the audience's attitude towards literary films is becoming more and more cold. Fortunately, there is Xu Anhua in this field. She has made us realize again that domestic literary films can also reflect society, tell history, and become epics (slightly heavy tone, laugh)!
The whole film describes Sister Tao's short life from stroke to death. During this period, the young master who was brought up by Sister Tao has been accompanied by her. Although the time is short, it is embarrassingly real. The film depicts many embarrassing moments in real life. For example, when Sister Tao asked about Miss Cai's family, Miss Cai had something to hide and deliberately pretended not to hear it. Sister Tao's brief petrification interprets this strange scene in real life. To the fullest. At first glance, these embarrassments are painful, but in fact it is a reflection of the panic of trust between people in today's society. No matter how close the body is, there will always be a wall between the hearts. The relationship between sister and wife and mother is in stark contrast to the wall of hearts between outsiders. This kind of truth is of course also due to the acting skills of the leading actors in the film. Ye Dexian's old and wet face can still vaguely see the shadow of Zhu Xiaoqian, the thousand-handed Guanyin. After watching the movie, the image of Sister Tao has become the first image of Ye Dexian. a representative.
Through the eyes of Sister Tao, the film depicts many different types of old people, widowed, disabled, lecherous, strong, stubborn, conservative and feudal... On the surface, they cry and laugh, but in their bones they all live very well. unhappy. Those with children lack spiritual communication; those without children lack realistic communication with the government. For the lonely, widowed and disabled elderly, it is fortunate that the Hong Kong government has complete welfare, they will not starve to death, and they still have a place to live. This also severely slaps the mainland welfare system. Hong Kong people will at least take cameras to the elderly. Yard Zuoxiu, if a person with the identity of Sister Tao appeared in the mainland, most of them could only live on the streets. Anyone who knows a little about beggars knows that the beggars in the mainland seem to be doing well, but they are only young and strong with acting skills, and the lonely and widowed elderly cannot compete with them in this industry. For the lecherous old man, he just wanted to enjoy the pleasures of the world as much as possible in the last time of his life. When Sister Tao learned that Uncle Jian was borrowing money to find a shampoo girl, she still did not hesitate to lend it to him, because he Understand that their time is running out and that every minute should make themselves happy. For the strong, stubborn and conservative old people, they just want to follow their original character and finish the rest of their lives. The principal of the nursing home has always demanded the old people around him with the discipline of the old society. Care about Airi. This also seems to be the typical character of the colonial generation. No matter how it changes, the traditional character of the Chinese cannot be changed in the bones. On the other hand, in mainland China, perhaps because of the Cultural Revolution, we have lost too many traditions. It is no wonder that some Taiwan independence elements in our eyes always call us "you Chinese!" They are not fighting for "independence", but Chinese orthodoxy. In terms of self-cultivation, our peers from Hong Kong, Macao and Taiwan can indeed throw us a few streets away. (It's far away!) Panic about the aging of society is a topic of discussion in "Sister Tao". No matter how young we are now, we will grow old one day. At that time, what should we do? ? ? ? On their own? Hands and feet are disobedient; rely on children? They also had a hard time; relying on the government? …………
I think no one wants to hear a word - "You are getting old!" When you are old, you are old! As long as you can follow your own life track and walk your own way, cherish the hard-won life, you will be old when you are old! If he can eat, let him eat two more bites!
Hong Kong filmmakers' self-deprecating behavior of the current domestic films eager for quick success and shoddy production is the highlight of the film. The actor himself is an unavoidable film producer, thinking all day about how to get more money from investors, how to make The ignorant audience pays for it. Roger took Sister Tao to the premiere of the new film. It was still a story of the Three Kingdoms that was filmed again and again. Sister Tao fell asleep while watching it. Afterwards, Roger calmly said to Sister Tao, "The movie is not good!" Perhaps it is this calm self-deprecating complex that has attracted a series of big-name filmmakers such as Tsui Hark, Sammo Hung, Huang Qiusheng, and Ning Hao to make guest appearances. See Tsui Hark and Sammo Hung's sighs in the film. The cameo of these filmmakers is to complain that in order to survive, they have to temporarily give up their artistic concept.
In the process of watching the movie, it is plain from beginning to end, perhaps too close to life, although plain, but it can touch the most sensitive nerve in the heart of people. There is a time for everything in the world, there are times to cry, times to laugh, times to live, times to die, times to suck the pacifier, and times to go into the coffin. If you can't change too much, you can only laugh at life.
Sister Tao was dressed up and took Roger's hand to the premiere of the movie...
Sister Tao: Handsome guy!
Roger: Big beauty!
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