A narrative about suffering
Since it is pure fiction, it must constitute a compilation of suffering. Is there an editing and rendering of suffering? I may not have a say, but it is indisputable that there must be an assumption of suffering. Let's not say whether this idea is enough to be an imagination, but it must be the process of the writer wantonly inflicting suffering on the characters. In this sense, feature films are hopelessly inherently inadequate compared to documentaries. And under such absolutely dubious premise, any design arrangements and aesthetics would be worthless.
In such a clumsy body, the film seems to have completed some flexible turns. For example, using superb editing techniques to avoid the powerlessness of step-by-step backtracking, such as using exquisite composition and mirror movement to ensure the absolute beauty of the picture... The outstanding performance lies in the excessively interlocking horse grasping and the perfect explosion of the plot points (especially the plot points). Two photo frames with honey juice floating on water). Such elaborate arrangements will inevitably consume the power of the original. This is a complete departure from the new wave of image aesthetics developed after the war, both in content and form. Amid such deviations, the so-called "filming for foreigners" accusation seems to have finally hit the ground running. The sensitivity of modern and contemporary Chinese history is comparable to that of various porn stars. It is no exaggeration to say that any narrative related to it can satisfy the curious eyes of the West and carry the coveted psychology of the capitalist world. From such a standpoint and perspective, the so-called truth and fiction have to be reconsidered.
For the viewer, perhaps the more important thing is to establish an identity with the image. Faced with an unconvincing image, how do you get into the characters and their life histories? Not to mention the pain of the people at that time and place through the narrative time and space of the film. Here I have to mention the young Liu Xing again. The improper handling of the stars has greatly affected the establishment of the movie-watching mood (sorry, I personally have no way to look directly).
2. What is longevity
What is forever? Under the brainwashing call of the song of friendship is forever, a "little era"-style high praise for gay friendship is called out. The call for "absolute friendship" undoubtedly constitutes a dissolution of the above-mentioned so-called "reality" (and the call for "absolute tolerance" and "absolute stability" will be mentioned below, all of which are a complete departure from true aesthetics and the truth of human nature) . As the eternal "safe haven" of the two corners of Liyun Yaojun, the small group is the voice to defend the mainstream truth, goodness and beauty.
In addition to friendship, there is also family love that may last forever. After a long wait, Li Yun Yaojun and his wife finally ushered in the return of their adopted son. So long , my son, long goodbye to the warm parent-child time. On that day, there were many gauze curtains and windowsills in the afternoon. When the newborns were gathered together, Liyun Yaojun did not lose to his friends. After parting, is the family that ends up together worth tears? I can't agree with the director interview mentioning that this is actually a more brutal way. The time and space of the film suddenly come to an end here. It is not a suspension of the fate of the characters, but it must be a good guide.
Look, the dust has finally settled. In "Long Time" I heard such a cry. My heart probably ached when this ceasefire line was clearly opened up in the midst of change and change. This is undoubtedly the sixth-generation wrist-breaking departure. Xiaoshuai is getting old, and there is a rift with the "sixth generation spirit" named after them.
Liyun Yaojun's forgiveness to Haiyan, Shen Hao, and Jasmine made them stand on the moral high ground. Until Shen Hao's confession, Liyun Yaojun completely rose to be a compassionate holy parent: absolute forbearance, kindness and forgiveness. Violent emotions unfolded around them, but they could not disrupt the balance between them, which was more stable after the indifferent quarrel and suicidal crisis had passed.
The only core motivation for rebellion is Yaojun's desire for children, so we must ask: Is it appropriate to base the pursuit of the so-called "freedom" on a kind of anxiety that stretches out the incense?
Of course, I would like to thank Wang Jingchun and Yong Mei for such simple and clever performers. In them, I see my parents and grandparents. But at the same time, compared to my relatives, their character setting confuses me: couples who never get angry with each other? Does such a model exist? How to get the balance shown in the picture in all kinds of depression? This kind of "absolute stability" is a provocation to the fact that "poor and lowly couples mourn for everything". Although Yaojun deserted and Liyun committed suicide as a cover, it was still very dazzling, and of course the support behind it was even more questionable.
Perhaps, boil is forever, but obviously, I was not convinced.
3. Personal and historical commitment
Throughout the film, Haiyan's family, as visible powers, put pressure and debts on the weak Liyun Yaojun and his wife, which is undoubtedly ridiculous. What's even more ridiculous is that Jasmine's temptation to Yaojun, the act of enriching his own pockets in the name of redemption is eye-popping. In the face of history, we always try to find our own position and take responsibility, but most of them are as ridiculous as Jasmine's devotion: self-indulgence in the false revolutionary enthusiasm. Or, another way, like Shen Hao, is to release pressure through a confessional narration. Whether it can sincerely comfort the deceased or those in distress, I doubt it. However, the vested interests bow their noble heads first, this way is at least sincere.
Thinking about the relationship between people and history, or you can quote a short passage from the film. It was Liyun who stood in front of the rolling lathe, his back to the camera, the noise of the machine roared. The wheel of history oppresses the individual in the same manner. History may have the right to trial and error, but for everyone it is their life.
4. The Evil of Mediocrity and the Evil of "Mediocre"
About the banal evil represented by Haiyan. As the old saying goes, obedience in politics equals support, whether or not your motives betray your conscience. The clichéd "Eichmann" soul, returned by Haiyan. Evil, as Hannah Arendt realized, is by no means fundamental and absolute. It often has a simpler and simpler name, and it may be generally called the utility of the world - the so-called money and stability (embodied in the deleted paragraph of the commendation meeting and in Haiyan's last words at the end of her miscarriage and death ). Human beings do evil, not because they violate the law or conscience. Sadly, it is often the wise people who perpetrate the mundane evil. They are known as those who know current affairs, so they are named Junjie on the stage to accept the award, and the hands behind their backs are often full of blood.
And about the evil of "mediocre", what I want to say is about whether good people can live well? Or, for ordinary people, how to achieve happiness? Is there a reasonable path? This goes back to what was discussed before, and the answer provided by this film is: Boil is what lasts forever. Get through the tough time with friends, get through the time of swaying with your lover, get through the time of tit-for-tat with your family, get through it! I avoid talking about it. Perhaps, I am still waiting for a moment in the future that will convince me to turn to this tender and self-willed country.
2019-3-25 23:58 The author added a comment:
The above are all over-interpreted.
The truth, goodness and beauty in fake rebellious and pseudo-punk sheepskin show the power of truth and restraint!
We laugh, we sing, we dance, how are you tomorrow?
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