"Long Time" can't talk about any ideological and superb ideas.
The 30-year life ups and downs of the characters in the film have all turned into straightforward and not too real expressions required by the director or screenwriter.
It is an imitation of life, totally anti-life's truth. I don't believe such a group of people.
For example, in the greater and powerful films, what I often see is a lot of people who swallow the tears in their stomachs and keep their smiles on their faces and hide their sadness in that way.
Most of the people I've met who don't have too much suffering do not want people to see their suffering, and maintain a little bit of decency unconsciously. Such people and expressions of life are the real world. That contrast is what fascinates me even more.
These two characters created by Wang Jingchun and Yongmei have always been on their faces all their lives: I once had a son who died. is it possible?
Well, even if he exists. But there are all kinds of people in the world, and it's not like in the movie, everyone is like a saint who will repeatedly flog himself with a little mistake morally.
The whole family of family planning officials, and even the male owner's younger sister Jasmine, was actually such a person, and could be regarded as a pacesetter in the family.
What's more outrageous is that the problem of family planning cadres, the director repeatedly told us that she was only because of professional behavior. The director and screenwriter gave her too many shots, made her confess the most, and even took her life. The actors did a good job, but I don't know what the director was trying to do here.
A director who has been selflessly implementing the family planning policy for decades, has never alienated her heart? (At this point, you should read Mo Yan's "Frog".)
The death of a good friend's child can instantly change her character from Wang Shanbao's to Sister Lin? Dozens or hundreds of children died under her hands?
At the beginning of the movie, the child was drowned, which is a tragedy, but the audience did not have time to establish any relationship with this child. There are too few things belonging to him, and he is just a symbol of "children". The other family, the jailed man and his fat wife, have no role in the play, just to show a characteristic of the times, they are completely paper-based and can be deleted. The adopted and rebellious son played by Wang Yuan, the director and screenwriter did not give him any role, and the actors did a good job, but the script was so pale that it was impossible to empathize.
The leading actors and actresses Wang Jingchun and Yong Mei won the Berlin Best Actor Award for their acting skills. After watching it, I felt that the performance of the two actors was very natural and realistic, but these two characters were still not shocking. Maybe you will sigh for what happened to them, but you will not be captivated by them mentally. Because the script doesn't give them deeper power. They are all one-sided.
Judging from the images, director Wang Xiaoshuai showed great skill in the tension of the shots at the beginning, and there are also remarkable places in the back.
But as a mature director, it is surprising how shallow the understanding of thought and human nature is. It is about 100,000 light-years away from the best literary films in the world.
To give another example, if the director wants to portray the hero and heroine who are so unable to let go of their deceased children, they should go to their son's grave as soon as they return to their city after more than ten years. It's not like in the movie, when the house is cleaned, the house is settled, the patient (family planning cadre) is ready to visit, and she is even sent to the end. pay homage.
The male and female protagonists are so in sync with each other that they can't extricate themselves. I haven't seen any slight differences between the two people, which brings the two people's human nature torn, mutual accusations, and human paranoia. They are too respectful to each other, kind and pleasing to the eye, and even if they cheat, they seem to be far away from the real center of the two people.
Years of new life did not make them most ordinary people who buried their sorrows and continued to live, but made them deliberately distance themselves from others in terms of image and spirit. This is not impossible, but there is no freshness and weight.
As soon as they met the old one, everyone hugged and cried. What I want to say is that it's not wrong to hug and cry, but is there no one in this story pretending to be happy? Isn't there a person who doesn't open up and remind others of their scars?
What an incredible world of collective grief behaviorism.
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