It doesn't matter if it's right or wrong. I always feel that some directors' films must be seen in the cinema, not specifically how valuable these films are at the box office or that only the big screen and stereoscopic film can satisfy a stronger sense of realism and realism. The experience of watching the movie in the real place - of course, this is one of the important reasons for going to the cinema, which also makes the second reason seem a little paranoid and ridiculous. That said, it may only be possible for me to watch it meticulously from start to finish only when I was put in a dark theater and my task for a full two hours was "watching the screen carefully". "This Is Right Then Wrong" has the director's personal style very much. I can't help but sigh while watching. It turns out that the distinctive Hong-style eccentricities have to stubbornly appear in each of his films. In the meantime, it was obvious that it was only three inches down from the navel, but Director Hong insisted that this matter be brought out, and brought it up on the stage to rant about it for a few hours. It's not boring and tedious, on the contrary, it's ambiguous and subtle, making people laugh. Director Hong Sangxiu drinks, chats, brags, and grumbles, and it is particularly meaningful to express the wretched, lustful, warm and lovely performance of the middle-aged oriental man. Subtlety is the biggest feeling I have after watching the whole movie. For about an hour and a half in two hours, there is a delicate and ambiguous air flow, like a tight coat on the street on a winter night, stomping my feet, and can't help trembling towards warmth. It's hard to cut off the pink bubbles that were rubbed between the two of them, and the white breath they exhaled rose and fermented in the empty alley. It kind of took off my pants, but I dared to do it. It is limited to this repression, and it is a reluctance to say anything. Standard oriental film style - delicate and restrained. At the same time, the director deliberately weakened the focus of shooting and post-editing in an unconventional way, abandoned the traditional dramatic refinement, and turned his face away from the arrogance when confronted with the phrase "art is higher than life". It was all daily dialogue. Hong Shangxiu gave the actor what he wanted to say, and the actor sketched the picture for us after figuring out his feelings. As for which of the rambling lines is nonsense and which is poetry, it is up to you to digest it yourself. Language is the root of misunderstanding, too much words will be lost. Silence is Jin's careful wording; words that everyone agrees with cannot be called expression, so always prepare for a tit-for-tat confrontation with emotional outbursts. The author echoes the title of the movie - "Right Now Wrong Then" "Triviality is the normal state of life, what's right? What's wrong? Life is trivial and boring, but Hong Sangxiu made it bloom. I heard from an interview show that Hong's script is very loose, and many details require actors Self-play. Especially in this kind of re-enactment performance mode, it is particularly important to grasp the details, whether it is the undisguised lust and sweet talk of the male director in the first part or the drinking and frankness of the second part. And the female painter's change from passive to active attack is all too natural! The film's starring Zheng Zaiyong and Jin Minxi, in addition to figuring out the characters' personalities in a particularly well-placed way, even more ambiguity between men and women. Emotions are vividly displayed. What are the factors behind the gradual emergence of good feelings and the lingering flow of love desires? The two-stage combination of clips is more like a social practice. The director made a gesture of rubbing his hands to discuss with our audience From another point of view, the director has really sublimated the awkward aesthetics, plain composition, fixed viewpoint single shot, unchanging depth of field, long-term view, close-up, seemingly inexplicable dialogue, in fact, it refers to everything, only the details The subtlety can only be felt when the cocoon is peeled off. Awkward aesthetics and fixed shots are standard in Hong Sangxiu's films, two possibilities after picking up a conversation and dating, repetition and difference. Simplified beginning, bland encounter, awkward chat, The crispness of the collision of soju glasses, the politeness of mutual praise and praise, the inadvertent physical contact, the intentional Unintentionally tugging at the heartstrings... No cuts, no transitions, or even no switching of camera angles at all, what you see is all that you see, no brains, no idea where it comes from, and where the lazy imagination will go, the director will It's like picking up a piece of plasticine, kneading the time in the movie, stretching it and changing it at will. At first glance, it seems that there is nothing, but it seems that it is full of infinite possibilities. The director re-engraved his own films, creating differences in subtleties, and promoting the development of different plots in the parallel space. However, there are thousands of regrets, and everyone is different. Because of the long shot, the scope of the movie screen is very fixed, and the director's line skills are very demanding, because repetitive things can easily form a fixed thinking mode, how to surpass yourself in the same movie and make the plot better Being unconventional is a delicate job. Hong Sangxiu didn’t go to the film festival, but he explained his film language in advance, but it’s just a way of expressing language, it’s a language that has nothing to do with your life, it’s nothing great. ' said the director. It's just, "people live and do the same thing." The so-called world is emotional, but the white porcelain plum soup in midsummer, the broken ice hits the wall and clangs. It is better to admit frankly that everyone is born from ideals and dies from desires. No matter what is right, it doesn't matter if it's wrong. Those things that come from fate will eventually die out and leave, so don't be sad. Because of the long shot, the scope of the movie screen is very fixed, and the director's line skills are very demanding, because repetitive things can easily form a fixed thinking mode, how to surpass yourself in the same movie and make the plot better Being unconventional is a delicate job. Hong Sangxiu didn’t go to the film festival, but he explained his film language in advance, but it’s just a way of expressing language, it’s a language that has nothing to do with your life, it’s nothing great. ' said the director. It's just, "people live and do the same thing." The so-called world is emotional, but the white porcelain plum soup in midsummer, the broken ice hits the wall and clangs. It is better to admit frankly that everyone is born from ideals and dies from desires. No matter what is right, it doesn't matter if it's wrong. Those things that come from fate will eventually die out and leave, so don't be sad. Because of the long shot, the scope of the movie screen is very fixed, and the director's line skills are very demanding, because repetitive things can easily form a fixed thinking mode, how to surpass yourself in the same movie and make the plot better Being unconventional is a delicate job. Hong Sangxiu didn’t go to the film festival, but he explained his film language in advance, but it’s just a way of expressing language, it’s a language that has nothing to do with your life, it’s nothing great. ' said the director. It's just, "people live and do the same thing." The so-called world is emotional, but the white porcelain plum soup in midsummer, the broken ice hits the wall and clangs. It is better to admit frankly that everyone is born from ideals and dies from desires. No matter what is right, it doesn't matter if it's wrong. Those things that come from fate will eventually die out and leave, so don't be sad.
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