This article has been published in the October issue of "Shanghai TV". If there is any reprint, please indicate it and contact me. --------------------------------- The content determines the form. Jia Zhangke uses the three pictures in "The Old Man of Mountains and Rivers" The connotation: first the "past" of Shanxi in 1999 (1.33:1), then the "present" of Shanghai-Shanxi in 2014 (1.85:1), and finally the "future" of Australia-Shanxi in 2025 ( 2.35: 1) The wider and wider screen seems to be a bigger and bigger world, but the people in it are getting more and more distant. This kind of life scene is not positive energy or negative, but the reality in front of everyone. Life. The love triangle between Tao'er (Zhao Tao), coal boss Zhang Jinsheng (Zhang Yi) and miner Liang Zi (Liang Jingdong) takes place in an almost square frame, which creates a strong sense of urgency. Although the three actors are too old, Zhang Yi still interprets the eyes and body language of the shy, angry, jealous, and ecstatic young people well. At that time, Tao'er had the smug look on her face that is unique to the local people. There were only two men and her father in her world. Jinsheng's unruly, daring personality was definitely more attractive than Liangzi, a warm man. 25-year-old girls are also more likely to develop, and hormones can speak. However, Jin Sheng's reckless and willful temper almost burst out of the picture. He wanted to take the arrogance of grabbing every day, but was finally appeased a little by a loud explosion of explosives. Whether it is a surging crowd or a crashed small plane, there is an ominous atmosphere brewing. Jia Zhangke is good at creating an atmosphere with such surreal details. Fifteen years have passed, the passerby boy carrying a knife grew up like a symbol of time and culture, Tao'er also divorced Jinsheng unsurprisingly, and her wealthy strong woman life will also usher in a separation that is more painful than divorce: Liang Zi, who escaped from her hometown for her back then, returned home after years of hard work with a poor wife and children and a terminal illness; her father who depended on each other suddenly died in a foreign country; her 7-year-old son, who came back for a funeral, will immigrate to Australia with Jinsheng as soon as he arrives in Le... I can walk with you for a while." Tao'er's painful realization is also the life we will face. Will you be happy if you are rich? Would it be good to go to the west? The near future of 2025 envisaged by Jiao Dao is not much different from the present, except that the technology products are more cool. In order to escape legal punishment, Jin Sheng was forced to emigrate to the West, but faced the absurd dilemma of having no enemy and unable to communicate with his native English-speaking son. Immigrants' longing for their mother (the motherland) and their fear of being unfamiliar and rejected are projected on Dale and Zhang Aijia's two lovers, Dao Le's lover. Embarrassing point. Whether Da Le dares to maintain the empathic love of his Oedipus, and whether he dares to return to China to see his biological mother, seems to be a question thrown to the new immigrants who grew up in the honeypot. And we ordinary people will be like Tao'er in his 50s, one person and one dog, dancing alone in the ice and snow, nostalgic for youth, and all that we once had and will eventually pass away. At this moment, no matter how I interpret this film, I can see that Director Jia, like Jiang Wen who filmed "One Step Away", used the film to write a love letter to his beloved wife.
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