Xiaogang's Japanese wind route

If I hadn't heard Uncle Feng pretending to be a deep and low-key monologue in the mixed cut at the beginning, I would have thought that I would have returned to "Love of Hiroshima". No one can compare to Feng Xiaogang when it comes to playing cold and humorous. When he shoots the New Year's line, he becomes the Wang Shuo of the film industry, especially the kind that pretends to be serious. The movie reviews I watched before I watched the movie were all full of praise for Shu Qi's acting skills. Shu Qi has indeed accumulated a lot. Watching "City of Glass" and "Monster" in the early years, Shu Qi's eyes and aura have been forged enough to attract the audience into the play. Actresses with such great energy are Gong Li, Shu Qi, and Maggie Cheung.

Slow, bright, clean and detailed picture, many long and stable camera positions, turn off the soundtrack, I would really think it was a Japanese film. I am impressed by three shots, all of them are back view mirrors: when Wu Sang was driving on the highway in Hokkaido, he followed behind his car instead of in front of the panoramic mirror; The back view mirror showing Ge You's expression, and the back view mirror that Qin Fen and Wu Sang were talking in the car after lying down in the hospital with a smile, and they were placed in the back seat without taking pictures from in front of them. Perhaps from the perspective of camera awareness, it answered why a classmate asked Xiaogang when he was giving a speech at a certain university, "They all said that there is humanistic concern in your films." We are always following the camera to "participate" in the story, not just watching him "tell" us the story. Along the way, we followed Wu Sang's car to Hokkaido. We saw the sincere Qin Fen repenting in the chapel, and sat in the back seat to hear Qin Fen's sarcastic promise. I also know that there will be some female classmates who will shed tears for Qin Fen's true feelings, or the tearing of similar love that they have suffered.

Xiaogang seems to inadvertently hook us into his story. It's a good story, but also a slow one.
Keeping or letting go of love is the unresolvable difference in the world. Emotional feelings cannot be restrained and cannot be resolved fairly by playing with rock-paper-scissors, just like Qin Fen invented the "disagreement terminal" that can peacefully resolve all differences in the world. machine", and finally, full of happiness, he willingly accepted a love that was not so fair to himself. Love, there is no reason to care about fairness.

We all have people who have been sorry, just like there are always people who we can't love. Where there are people, there are rivers and lakes, there are rivers and lakes, there is love and hatred, and there is love and hatred, and there is no peaceful solution. If there is a metaphor for the "difference terminal", the only annotation is to keep in mind its rules of the game— - Willing to gamble to admit defeat. Pressure on love, all the sacrifices, then willingly...

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