If I had never known Jia Zhangke, I would have been pleasantly surprised when I saw this film of his for the first time, but after all, I have watched him struggle for so many years. Seeing that he was brilliant, he built tall buildings and entertained guests, and everyone didn't want to see his building collapse. It's strange to say, I only fell in love with him from "Tianzhuo", "Tianzhun" is not a very good movie, there is an old method that he has used for 20 years - he is old when he uses it, others If you want to use it, it will be foreign, but others may not dare to use it. Like his business card. When people reach middle age, it is probably a hurdle. I have seen the means in my youth, and I want to see something else, or how the same means can deepen his expression. In other words, everyone is waiting to see whether to eat Lao Dier or Sesame Blossom. This process is long, and there may be a "Tian Destined"-style summary expression, or there may be a "Mountains and Rivers" style to open a new chapter of its own. The final step towards the master. Whether it is his artistic intuition or coincidence, the video style he deliberately tempered in his early years has come in handy now. All the old things in the khaki town that he was obsessed with now perfectly fit the "disparity" in his movie. Fenyang, chimneys, radios, and carrying a big knife are painstaking efforts for others, but he is able to capture them. It can be seen that the audience's aesthetic needs to be cultivated. He has spent nearly 20 years of hard work, and it has not been in vain, but some people are tired of it. In recent years, it has become popular to make a fuss on the picture frame, and the change is nothing more than a combination of two meanings. One is like "The Grand Budapest Hotel" with the times, and the other is like "Mummy" with the characters. I really didn't pay attention to it before, but the square frame really seems to be closer to people, and it's easier to schedule it. The three stories connected together are a growth history of mortals: when I was a child, I cared about friends and love, and I was full of longing in my little world; when I watched the second paragraph, I kept thinking of the day my parents left me. At that time, there will be no relatives in the world. So, what is the essential connection between the individual and the world? Children's return to children, but also to the future. None of these three stories are good, their old elements, old words that others have said. I can't help but think that this is rare in China, but Jia Zhangke, who stands on the platform of dialogue with all the big directors in the world, is absolutely not enough. It's really hard. People live to a certain age and find that all their insights have been said by others, and they have nothing to say. Growing up often splits up the old days, and then closes them up piece by piece, as if everything in "Inside Out" can be a complete and pure colored ball. When I miss these times, in fact, I am trapped in my own closed room, and there are many beautiful feelings of self-deception. like electricity Fenyang in the shadow is like a city that has not changed for decades. This kind of nostalgia also carries alienation. No one really wants to go back to the past. Everyone looks at the past from a distance with nostalgic nostalgia. I often think of my mother's entrepreneurial history inexplicably. When she was sixteen, she stopped growing wheat and shaved medicinal herbs in the mountains, and went to the city to work in factories and small restaurants. After she got married, she became a vegetable farmer, drove a bus, and opened a hotel. In just 20 years, she has changed countless occupations. Sometimes she lay in bed for three months because of back pain, and she still struggles when she wakes up, and finally she can barely live the life of ordinary city people. Now, like a city person, she often goes to her hometown to climb mountains, but those are the ones she walked countless times when she was young. I used to wonder what her beliefs were, but then I thought it didn't matter. Just by the instinct of the creature, the animal is ferocious. There was a time when I often quarreled with my mother. It should be the instinct of aggression and the instinct of different requirements in life. Now I understand her because of the instinct of love. Emotionally, although Zhao Tao's last dance steps are inseparable from the shadow of "Mother", it still makes people's hearts linger, and then become hot. Zhao Tao's performance is also interesting. Like most domestic actors, she has "facial paralysis", but she does not shy away from it. Instead, there is only one expression in a movie. Heaven is destined to be a slightly sad face, and the old people of mountains and rivers are smiling faces. Such "one expression" is also the alienation of human beings from reality, probably because alienation is the essence of life, so the obstacles to love are everywhere. People are smiling faces. Such "one expression" is also the alienation of human beings from reality, probably because alienation is the essence of life, so the obstacles to love are everywhere. People are smiling faces. Such "one expression" is also the alienation of human beings from reality, probably because alienation is the essence of life, so the obstacles to love are everywhere.
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