The major annual film festivals and awards fix the cycle of the film industry on the calendar year, and time turns like a film projector. After New Year's Day, the first frame of the 2016 film reel appeared in the light and shadow of Sundance. However, the ending of 2015 has not yet been released. The red carpet show in Los Angeles, the world's film capital, has just been rolled out, and at the end of February, the grievances and grievances of the previous year in the film industry have come to an end. The biggest enemy in the past year is probably "Dupin", which won the Palme d'Or in Cannes. From Cannes in May to Paris in September, the critics were booed and gave no face to the French film brother, Audia. It stands to reason that the domestic film won the Cannes, if the release time meets the requirements, it should be the natural choice for the Oscar foreign language film. But the French not only gave the place to a Turkish film, but this film was also the director's virgin, and it was only shown in a small part of Cannes. Perhaps only by sorting out this movie koan, the 2015 of the movie calendar will really be turned over. [Scenes and reality of the movie] Jacques Audiard can be said to be a filmmaker born with a golden spoon. His father, Michel Audiard, was a well-known screenwriter in France in the last century. The young Jacques wrote the script with his father before he finished his studies, so that when he was preparing for his first feature film at the age of 40, he was already well-connected in the film industry. "Love", 2012) and popular youngster Matthew Cassowitz ("Amelie", 2001). From this first film, Audia is not a typical French pure art director, but a comprehensive artist like Truffaut, perhaps closer to today's Hollywood art director. For them, the first priority of film is storytelling, and the exploration of technical and artistic techniques is only for the sake of narrative. "Dupin" is also such a popular film with strong artistic quality, which has a certain social character. The film tells that after the end of the civil war in Sri Lanka, the Tamil Tigers fighter Dipan was exhausted and prepared to pretend to be a civilian and apply for asylum in Europe. Because families with children have priority in refugee review, single woman Yarini took a little girl in the refugee camp and pretended to be a family with Dupin. But after arriving in Europe, Yarini failed to go to the UK to join relatives, but was trapped with Dupin and the children in the northern suburbs of Paris, where security was worrying. There are a lot of people who shoot refugee themes as critical realism, but it’s not necessarily the case for people like Odia who just make a big scene. One of the criticisms of "Dupin" by critics is that its depiction of the suburbs of Paris is not representative: even in the northern suburbs, there is not only the Dupin family apart from gangsters and drug dealers. However , the same critics, raved about some of Audiard's previous work. But surely the drama in "The Prophet" (2009) doesn't represent a typical French prison, and how many real estate hooligans have the same aspirations to classical music as the protagonist of "The Rhythm My Heart Forgot" (2005)? In fact, Euclid's works never focus on describing reality, but likes to explore the abstract and condensed aspects of each small environment, and paranoidly search for the minority and anomalies in it, so as to examine the social tension between the mainstream and the marginal. The deaf woman and ex-offender in "Lip Talk" (2001), the bizarre young and old in "Men Hurt the Most" (1994), Odia's focus has always been on the "exceptions", not caring Whether it can represent or reproduce a certain social reality, seven films are no exception. [Inheritance and Subversion of Genre] The beginning of "Dippan" is indeed like a social issue film, but it is quickly torn apart by other types of factors. Perhaps this is what makes a lot of people uncomfortable. We are so used to works that are neat and can be comfortably categorized and dismissed as having no place in the framework we accept. Four is not like, I don't know what to say. However, great works have always challenged all stereotypes, including established genres. Piecing together the fake Dupins came to France and had to make a living by selling toys at night until he was officially placed. One of the most famous stills in the film is that of Dupin wearing a headdress and clutching a toy, peddling in the cold wind of the streets of Paris, looking like a lost child. The details of the script of "selling toys" are not chosen randomly, it is a metaphor for the change of the character's identity - the battle-hardened tiger warrior not only pulls his teeth from the tiger and integrates into the common people, but also knows nothing about life in a foreign country and does not understand the language. like a child. And the whole film is the process of this "child" constantly learning in a new environment. This is what Mogenstern called Bildungsroman (also translated as "educational novel"), a genre that has been in constant development throughout the history of narrative art. Using a delicate growth narrative to tell the experience of refugees integrating into a new society can be said to be the novelty of Odia. Previous refugee stories also often emphasized new "life", while "Dupin" more keenly captures the metaphor of rebirth hidden behind the drastic changes in life. What they face is not only a new life, but also a new life. How many times can a person live in a lifetime? What is the price to pay for such a new life? This is a constant question in Euclid's work. Lips and The Forgotten Rhythm of My Heart have already said that the men and women in Rust and Bone (2012) also struggle to find their way out of poverty and disability. This new born is the most extreme Duan's expression is Albert DeWos in "The Self-Made Hero" (1996), who, by virtue of memory and cleverness, abandoned his family and his wife after the war, transformed from the son of a collaborator to a hero of the resistance group. The road to "growth" is never smooth, but there are not many bumps like Dupin. The northern suburbs of Paris, especially some areas in the northeast, have been in chaos for many years, and the police are reluctant to set foot there, making it an orderly vacuum where gangsters run rampant. When the protagonist draws a "ceasefire line" in the center of the community and tries to fight against the gang of villains by himself, "Dupin" enters the self-defense film (vigilante film) tradition. Self-defense movies are a type of plot that prevailed in the 1970s. Often when public power fails, the characters in the film decide to take on the responsibility of promoting good and punishing evil, or just protect themselves. The reason why "Dupin" won the Cannes award, in addition to the story that the judges said won, the historical breakthrough of the genre is also what the three major film festivals have been looking for. The runner-up "Son of Sol"'s camera usage and story angle selection is an innovation to the already badly filmed Holocaust theme, while the third runner-up "Nie Yinniang" changed the genre of East Asian martial arts films from "badly filmed in Hong Kong and badly filmed in mainland China". "The embarrassing situation is instantly lifted to the height of pure art film. Compared with them, the champion "Depin" can be said to have played a big game. It integrates social problem films, gangster films, growth narratives, scar narratives and self-defense films. It tells the story of refugees in an unprecedented way and combines genre films. Elevate to the height of socio-political and life philosophy. The exhausted killing machine put down the butcher's knife and wanted to start over. From the poverty-stricken and war-torn Sri Lanka to the self-proclaimed civilized and prosperous France, he put himself in the position of a child for the sake of new life. But in a place less than ten kilometers away from the Louvre and the Eiffel, he started killing again in order to survive. Nothing sums up the plight of war migrants better than the alternation of Odia’s hands-on growth narrative and self-defense films, and the repeated images of “terrorists of last resort” emerge as a reminder of Europe in the flood of refugees. [The arrogance and devotion of the camera lens] A typical self-defense movie, its climax is often in a final "self-defense revenge" scene. This scene in "Dupin" takes place near the end of the film. From the middle of the film, Yarini is employed as a part-time job by the leader of the drug gang. Due to the escalating conflict between Dupin and Yarini, Yarini is finally threatened. At this time, there was a firefight between the lawbreakers, and the scene was chaotic. Yarini called Dipan for help. Of course, the movie of Deng Taiya will not let the protagonist play the knight who rescued the princess from the dragon at this time, but it will also make a fuss about the skills of the tiger warrior. There are many other ways to describe the violence of "self-defense and revenge", too many to enumerate in film history. However, none of this happened. Dipan went all the way up the fire stair, killing drug dealers and gangsters one by one, and the urban criminals were vulnerable in front of the tiger fighters honed by the 20 years of war. But all this is invisible to the audience - the camera moves down parallel here, following the main character, and all images only show Dupin's lower body. There is no close-up of the protagonist's face, no reversal shot to render the atmosphere of daggers drawn, no wide-angle shot to explain the battle situation, no parallel montage to cut back to Yarini or cut to any one. an opponent's subjective perspective. During the entire long-shot follow-up process, the narration is all completed by sound effects, and the details are only supplemented by the audience's brain. The camera just bows its head humbly, watching Dupin's feet climbing upwards. Blank space is not Odia's strong point. His shots are very expressive, and the camera is generally very active, with more than initiative and lack of restraint. Gaze has always been a big problem for him, either the gaze of the characters snooping on each other ("Lip Talk"), or the look of the unbearable, painful, mutilated, violent, dark ("The Prophet", "Rust and Bone"). Come out to meet the curious eyes of the audience. And this is also the reason why the previous comments like him. The Odia they are familiar with is so good at expressing. The artist who seems to be able to do any picture creates the illusion that art is omnipotent to his peers and critics. This time is different. What should Dupin look like? What kind of eyes should a tiger who has been awakened from the beast look like? Killing means the failure of new life, how to express the disappointment in this? The script pushes the director down a dead end, and Dupin's extreme richness, contradiction, and complexity explode at the climax, taking the character beyond the art that made him. Changing who was in Odia's position couldn't add a proper look to Dupin at this moment. As a result, the camera that symbolizes the endless creativity of film art, Odia’s camera, bowed its noble head for the first time, gave up the arrogance of expressing everything, and admitted the helplessness of art in the face of extreme human experience. A simple and humble focus on characterization is probably the best way for a work of art to face suffering. The preparations for "Dippan" have been started since the completion of "The Prophet" in 2009. When first talking to the media about the script, the director declared that he wanted the effect of Montesquieu's "Persian Letter", with two curious outsiders. His eyes are critical of French society, and the tentative title is "Dupin: The Man Who Is No Longer In Love". Everything looks like a well-crafted piece of art. In the process of creation, the main creators gradually peel off these complicated decorations, and what finally emerges is a clean and thorough masterpiece. In an ethical sense, such a simple convergence is a tribute to human suffering. In terms of creation, such a visual and narrative strategy is a blank space to retreat, and art has moved towards eternity while acknowledging its own limitations. [Politics and rivers and lakes in the film industry] So where did the negative evaluation of "Dippan" come from? This trend of media destruction of Audia was described by Cahiers du Cinéma, one of the most important Western film critic journals. cinéma) took the lead, from the June issue (after Cannes) satirizing the film as a Palme d’Or flattery, to the September issue (after the release), a carefully planned group draft criticizing the lack of political latitude in French films. The irony is that "Dupin" never intended to be a political film, and if it inspires people on political issues, it is just unintentional. When you want to black a work and can't find a reason, the best way is to be like "Cinebook" and tell everyone about "Dupin" and "Market Law" (another big critic in the same group of drafts) The films represent a trend of political emptiness in the French film industry, and then impose some trumped-up social and industry trends on specific works. Cahiers du cinéma is traditionally right-wing, and Audia's father was close to the journal on the political spectrum at the time, and he himself was often influenced by some right-wing ideologies. So how can the manual hit its own family? The tit-for-tat rival of Cahiers du Cinéma is the left-wing Positif, one of the highest quality film review journals. Both were published in the early 1950s, and the entire 1950s and 1960s were almost incompatible. Anything that was praised on one side was bound to be belittled by the other. Although this trend has eased considerably today, it has not completely disappeared. For "Dupin" and "Market Law", "Feature Film" is full of praise. For example, the use of amateur actors is praised here, and it becomes the object of ridicule when it comes to the manual. What's worse is that the Lumiere Academy under Thierry Fremo, the head of Cannes, is the organizer of "Feature Film". Since Fremo took over Cannes in 2007, it has become a ritual for Cahiers to scold Cannes-winning films. From Haneke's masterpiece "Love" to the hit "Leviathan" in 2014, in addition to Malik's "The Tree of Life" (2011), even "Adele's Life" (2013), which was highly rated by critics ) and Timbuktu (2014), too. For these authors, the "Cinema Manual" has always been praised, and Odiya, who has always been unpopular in the manual, took the Palme d'Or, which is really in his heart. Today's "Cinema Manual" is walking into a blind alley of the hallucination of commentary. They are no longer commenting on movies, but put their own ideas about movies on each film. Many reviews do not try to understand and interpret the film first, but aim to promote their own vision, and want to use the sharp blade of reviews to align the film industry that is blooming with hundreds of flowers. It has become a manual of tyranny. "Featured" is much better, although sometimes it seems a little warm, but at least it can respect the personality of each work. Odia Institute The genus' Club des 13 happens to be the group that deviates most from the idea of manual art in mainstream cinema. This loose group of filmmakers was initiated by director Pascale Ferran and brought together the so-called "centrists" of French cinema, dedicated to "les films du milieu" (les films du milieu), that is, neither entertainment business nor A popular literary film that is not a niche art. These filmmakers have been trying to find a balance between entertaining the public and cinematic art. The survival of this kind of work is the most difficult in France: commercial films have a well-established entertainment industry machine, pure art films are heavily funded by the government and public institutions, and it is precisely "intermediate films" that are struggling to find funding. And such an artistic attempt is obviously not suitable for the manual's appetite, and it has been detained by various imaginary hats and nailed to the pillar of shame. If you still can't decide whether to catch up on last year's Palme d'Or before the Oscars, the September issue of Feature Film also has a feature on it. There is no long-winded critique of the Cinebook, just a two-page interpretation, plus a lengthy in-depth interview. Listen to what the author has to say, because each work is unique, and the latitude of evaluation is the performance of the work itself, not our philosophy. Like the film's accusatory ending, the Dupins find redemption and new life in England. No one notices that the shots, sets, and lighting in this episode are all about creating a dreamlike effect, and the real story ends when Dupin goes on a killing spree in the stairwell. This fairy tale ending is just a humble vision, and because every misery is unique, art bows its noble head and pays homage to life. (The abridged version of this article was published in Beiqing Art Review on Friday, February 26, 2016) milieu), that is, mass literary films that are neither entertainment business nor niche art. These filmmakers have been trying to find a balance between entertaining the public and cinematic art. The survival of this kind of work is the most difficult in France: commercial films have a well-established entertainment industry machine, pure art films are heavily funded by the government and public institutions, and it is precisely "intermediate films" that are struggling to find funding. And such an artistic attempt is obviously not suitable for the manual's appetite, and it has been detained by various imaginary hats and nailed to the pillar of shame. If you still can't decide whether to catch up on last year's Palme d'Or before the Oscars, the September issue of Feature Film also has a feature on it. There is no long-winded critique of the Cinebook, just a two-page interpretation, plus a lengthy in-depth interview. Listen to what the author has to say, because each work is unique, and the latitude of evaluation is the performance of the work itself, not our philosophy. Like the film's accusatory ending, the Dupins find redemption and new life in England. No one notices that the shots, sets, and lighting in this episode are all about creating a dreamlike effect, and the real story ends when Dupin goes on a killing spree in the stairwell. This fairy tale ending is just a humble vision, and because every misery is unique, art bows its noble head and pays homage to life. (The abridged version of this article was published in Beiqing Art Review on Friday, February 26, 2016) milieu), that is, mass literary films that are neither entertainment business nor niche art. These filmmakers have been trying to find a balance between entertaining the public and cinematic art. The survival of this kind of work is the most difficult in France: commercial films have a well-established entertainment industry machine, pure art films are heavily funded by the government and public institutions, and it is precisely "intermediate films" that are struggling to find funding. And such an artistic attempt is obviously not suitable for the manual's appetite, and it has been detained by various imaginary hats and nailed to the pillar of shame. If you still can't decide whether to catch up on last year's Palme d'Or before the Oscars, the September issue of Feature Film also has a feature on it. There is no long-winded critique of the Cinebook, just a two-page interpretation, plus a lengthy in-depth interview. Listen to what the author has to say, because each work is unique, and the latitude of evaluation is the performance of the work itself, not our philosophy. Like the film's accusatory ending, the Dupins find redemption and new life in England. No one notices that the shots, sets, and lighting in this episode are all about creating a dreamlike effect, and the real story ends when Dupin goes on a killing spree in the stairwell. This fairy tale ending is just a humble vision, and because every misery is unique, art bows its noble head and pays homage to life. (The abridged version of this article was published in Beiqing Art Review on Friday, February 26, 2016)One Frame, One Shadow " Special Writer]
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