In the savage zone, the story of the savage is unfolding——Talking about the new North American film "Hunting the Barbarians"

Kathryn 2021-12-03 08:01:45

After the dull June deadline, this independent film from New Zealand can definitely awaken your senses. Let me first introduce this peculiar artist, who is also an author-type director: Taika Waititi. If you search for his interviews, you will find that he is a natural "hyperactivity disorder" plus "performer freak". So he starred in many of his own movie works, such as "Māori Boys" in 2010, "Eagle and Shark" in 2007, "Vampire Life" in 2014 and so on.

(I doubt it, this is the director's deity)

(The real person Changjiangzi, how dissatisfied with his desires) This new film "Hunting the Barbarians" also shined at the Sundance at the beginning of the year, and was bought out of the North American distribution rights, and a small-scale theater line began in June. It was released and scored as high as 8.5 points on IMDb, and Metascore even gave 80 points, with a minimum score of 60 points, which passed the whole line. It can be seen the popularity of this new film. In addition, the 75-year-old director Taiga Viditi has taken over the shooting of the Hollywood blockbuster "Thor 3". It is unimaginable if the tonality of the Thor series changes It has become a savage and fresh Maori, and it is also a good choice! (joke). Before this New Zealand director who has exhausted all his abilities to "funny" step into the big Hollywood dyeing vat, let's talk about his lovely new film "Hunting the Barbarians". The opening tone is set: When the film of clumsy funny and childlike chorus Taiga Viditi comes up, it is often accompanied by a chorus soundtrack, allowing the audience to instantly enter his movie world from a full range of senses. A child who fantasizes that his father is a heroic character, a problematic teenager who is destroying everywhere, those pure and interesting images of children can always be different from the others under his lens, making the audience the first Time is full of curiosity and favor for this child who may be naive, childish, or rebellious, instead of judging their thoughts and behaviors from the perspective of social rules and the perspective of adults. Director Taiga Viditi once said that sometimes looking at his children will inspire creative inspiration. And watching his movies is more like restoring himself to a child, re-examining the world of adults. In his movies, children live like adults and adults live like children. In "Maori Boys", the adults who are living in a poor life are fooling around all day long, dreaming of finding a lot of money, and forming a cool gang. When the position of the adults in a family is out of balance, the child lives like an adult who cannot find a role in life. In a poor life, he takes care of his younger siblings and assists the dad who has a convulsion. The English name of the film "Boy" actually represents the state of the two characters. Both father and son are BOY, and BOY will eventually grow into MAN by itself. And in the new film "Hunting the Barbarians", Little Fatty Ricky. Baker, a naughty ghost who has gone through multiple adoption families, thinks all day that he is going to be a villain. He breaks the rules, destroys public property, and ignores discipline. He felt that he was not afraid of anything, because he was a villain. But in fact, he was afraid of everything, he was afraid of wild boar, afraid of blood, and even more afraid of loneliness. He is just a kid who sleeps with a hot water bottle every night. The chubby figure and his rude attitude are just his appearance and disguise. He likes to make people angry and run away from home. What he hates most is human beings. The film begins with an extremely concise section, setting the tone for the whole film. The evil little fat man was sent from the city to a foster family in the mountains. The humorous aunt, the indifferent uncle, and Ricky Baker who wanted to leave, the three of them had a weird and warm life. When the unsophisticated aunt used a good breakfast, a teaching of hunting wild boars, and a funny birthday song, Ricky Baker finally felt that she had found a harbour where she could stay and a family to rely on, but the aunt passed away unexpectedly. The order of life was disrupted once again. The man and the world who lost the woman began to lose balance. Looking back at the movie "Maori Boy", you will find that the story begins when the grandmother enters the city to attend the funeral. So when the father came back, everything was a mess, the two people from relying on each other, to breaking and fighting each other, and the final reconciliation, finally ended after the return of grandma. In "Hunting the Barbarians", everything also started with the death of the aunt. The little fat man Ricky Baker didn't want to accept any foster family anymore, so he took his dog Tupac (named from the "gang hero" rap idol Tupac Shakur he admired), and fled into the jungle together. Uncle Eke, who also lost his family and partner, turned from a taciturn old man to a sighing old man. Facing the disappearance of the harbor of life, he went into the jungle to find Ricky Baker. At first it might be out of responsibility, but later, the two together made the decision not to return to the real world. The risk of prison is the reality of a prison camp, and the two suddenly have a common goal: to go to the depths of the jungle for freedom! Becoming a Wilderpeople is their only survival option. The turning point at this moment is so interesting. Established the position of the whole film, and immediately let the audience understand the feelings of the two protagonists and stand on their stand. Started to support their crazy ideas and behaviors, in the vast forest, facing the danger that those city people could not imagine. Injuries, hunting, and staying overnight have all become technical problems that can be solved. In this jungle, their crisis does not come from savage areas or wild animals. It is the police sent from human society, the hunters who hunted them for bounty, and the female head of the child welfare agency who took the lead in hunting them down. (The female villain symbolized in the film is extremely violent and vicious, with a useless little brother. The director deliberately portrays adults with social functions as unscrupulous hooligans.) The film spends a lot of time. Dialogues and plots are used to highlight urban life and social systems. For the shackles of the old and the young, their rebellion and fleeing become justified, and they are fighting for freedom. Seeing them mastering the laws of the jungle proficiently, turning the people who chase them around, and walking through the dense forest without worrying about food and clothing, it really makes people feel the feeling of freedom. And between them, the tolerance and understanding of each other also saw the fragile and soft side of those rebellious young people and indifferent old people. In "Hunting the Barbarians", the little fat man Ricky Baker's sorrow for his mother abandoning himself, and "Māori Boys" misses his dead mother, there is one thing in the film of director Taiga Viditi. A small piece of sentimental elements, the plot is not in a hurry, and the brush strokes are soft, just right to give the story an intermittent pause. No matter how young adults’ children are, behind his naughty disguise, they also have their own inner world. They always feel that the departure of their relatives is their own fault. Because they feel that no one likes themselves, they hate everyone. This is a counterattack of psychological warfare, as Ricky Baker said: "I didn't choose the skuxx life, the skuxx life chose me." (The female villain symbolized by the film is extremely violent and vicious, with a useless little brother. The director deliberately portrays a socially functional adult as an unscrupulous hooligan.) The film spends a lot of dialogue and plot, To highlight the urban life and social system, for the shackles of the old and the young, their rebellion and fleeing became justified, and they were fighting for freedom. Seeing them mastering the laws of the jungle proficiently, turning the people who chase them around, and walking through the dense forest without worrying about food and clothing, it really makes people feel the feeling of freedom. And between them, the tolerance and understanding of each other also saw the fragile and soft side of those rebellious young people and indifferent old people. In "Hunting the Barbarians", the little fat man Ricky Baker is worried about his mother abandoning himself, and "Māori Boys" misses his dead mother. There is one thing in the film of director Taiga Viditi. A small piece of sentimental elements, the plot is not in a hurry, and the brush strokes are soft, just right to give the story an intermittent pause. No matter how young adults’ children are, behind his naughty disguise, they also have their own inner world. They always feel that the departure of their relatives is their own fault. Because they feel that no one likes themselves, they hate everyone. This is a counterattack of psychological warfare, as Ricky Baker said: "I didn't choose the skuxx life, the skuxx life chose me." (The female villain symbolized by the film is extremely violent and vicious, with a useless little brother. The director deliberately portrays a socially functional adult as an unscrupulous hooligan.) The film spends a lot of dialogue and plot, To highlight the urban life and social system, for the shackles of the old and the young, their rebellion and fleeing became justified, and they were fighting for freedom. Seeing them mastering the laws of the jungle proficiently, turning the people who chase them around, and walking through the dense forest without worrying about food and clothing, it really makes people feel the feeling of freedom. And between them, the tolerance and understanding of each other also saw the fragile and soft side of those rebellious young people and indifferent old people. In "Hunting the Barbarians", the little fat man Ricky Baker's sorrow for his mother abandoning himself, and "Māori Boys" misses his dead mother, there is one thing in the film of director Taiga Viditi. A small piece of sentimental elements, the plot is not in a hurry, and the brush strokes are soft, just right to give the story an intermittent pause. No matter how young adults’ children are, behind his naughty disguise, they also have their own inner world. They always feel that the departure of their relatives is their own fault. Because they feel that no one likes themselves, they hate everyone. This is a counterattack of psychological warfare, as Ricky Baker said: "I didn't choose the skuxx life, the skuxx life chose me." Baker’s sorrow for his mother’s abandonment of himself, and "Māori Boys"’s miss of his deceased mother, director Taiga Viditi’s film contains a short period of sentimental elements. This episode is not urgent. , The brush strokes are soft, just right to give the story an intermittent pause. The children of no matter how young adults have their own inner world behind his naughty disguise, they always feel that the departure of their relatives is their own fault. Because they feel that no one likes themselves, they hate everyone. This is a counterattack of psychological warfare, as Ricky Baker said: "I didn't choose the skuxx life, the skuxx life chose me." Baker’s sorrow for his mother’s abandonment of himself, and "Māori Boys"’s miss of his deceased mother, director Taiga Viditi’s film contains a short period of sentimental elements. This episode is not urgent. , The brush strokes are soft, just right to give the story an intermittent pause. The children of no matter how young adults have their own inner world behind his naughty disguise, they always feel that the departure of their relatives is their own fault. Because they feel that no one likes themselves, they hate everyone. This is a counterattack of psychological warfare, as Ricky Baker said: "I didn't choose the skuxx life, the skuxx life chose me."

Director: Taiga Viditi, also attaches great importance to the element of text. In "Maori Boys", the term Potential is used repeatedly, the teacher's evaluation of the child, the child's incomprehension, and then self-denial. It directly expresses what the director wants to say to the audience. Can you see the potential of each child? In the new film "Hunting the Barbarians", Uncle Eke is a poorly literate hunter, and Little Fatty Ricky likes to read, and the heaviest word in the film should be the name on the "Tombstone" of Uncle Eke's love dog: Zag. Leaving the character out of the law, but still cool. This sentence was used in the director: Taiga Viditi’s "Māori Boys". He himself played the inconspicuous father. He once explained to the eldest son what a gang organization is: “It’s a group of people, outside of the law. But still cool.". In "Hunting the Barbarians", the actor, Fatty, talks all day about what he wants to be: Gangsta. This time, the director simply set the two protagonists as such social roles: free from the law and escape in the jungle, but they are still cool. Only this time, they are not Gangsta, but Wilderpeople, the opposite of city people. The two went from quarreling to walking side by side in the jungle, to accidental separation. Little Fatty Ricky didn't panic at all, because his uncle had already taught him how to survive in the wild: look for water, walk up to the high ground, and don't be naked. He lives earnestly, but he does not lose humor. After a while, the encounter between Xiaopang and his uncle in the jungle is not surprising at all. They are both men who can live independently and freely. They smiled at each other, not disappointed with each other, uncle was not caught, and Fatty Ricky was unscathed.

Make every effort to make the audience laugh. Director: Taiga Viditi, once gave a TED talk about his work: Creativity. And his innate Maori and European Jewish descent, he kept all the boy's preferences, smearing comics, making his own cartoons, and imitating his idol: Mike Jackson. His first film is simply an extreme product of the cultural worship of Mike Jackson and the Japanese samurai. In the "hunting down the barbarians", a large number of American gangster culture and Hollywood blockbuster influences were added. And he would mix and match such American pop culture with his native culture every time. Those beautiful chorus soundtracks are the best chemical effects. (The dialogue in this scene is the same as the plot of "The Lord of the Rings" avoiding the knight, and my uncle is speechless.) Director: Taiga Viditi said that painting, photography, and filming are all creating fun Thing, and he is a sincere creator who does his best to make the audience laugh. His works cover a wide range, mix and match the strange tastes, and often make people laugh. Not so much that it caters to American culture, it is better to say that it is aimed at popular culture that resonates with fans around the world. The charm of Western mainstream culture spreads to every corner of the world, even in remote New Zealand villages, the little boy who admires Mike Jackson, and the cute uncle who caught the little fat Ricky and posted a selfie on the social network. Our mentality of chasing pop culture is all shown by him in the camera. Whether it's "Maori Boy" or "Hunting the Barbarians", the film uses weird funnyness to overcome the boring society. Director: Taiga Viditi has a more mature grasp of the story and a larger layout, especially the vast natural environment in the new film, which has released the film's feelings of chasing freedom, although the chasing bridge is a bit overwhelming. Taiga Viditi’s funny methods are sometimes very low-level, and sometimes they have unexpected surprises. It is difficult for you to guess, those are deliberately added, and which are natural, because he himself is a madman and has no self-restraint. .

(New Zealanders’ weird humor is in their bones)

Although I don't know if his "Thor 3" will be as novel as ever, his new film always attracts people's attention and wins a good reputation. This film tells the interesting stories that happened in the wild in a savage way, and let the audience experience it together. There is no superhero, and the film is fighting for freedom. Even if the method is partial, violent, and nonsensical. In the absence of new film resources, I suggest that you check out his previous works first, and you will not be disappointed. 2016 Xiao Xuan Er Ji

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Extended Reading
  • Brenda 2021-12-03 08:01:45

    It was so kind! ! ! ! The little fat guy is too cute, but why haven’t you been thin after walking in the forest for so long?

  • Sandrine 2021-12-03 08:01:45

    It's so healing! ! ! The little fat guy behaved very well, the interaction with the uncle was very interesting, and the whole story set a lot of interesting places. The film quickly turned from family integration to adventure in the forest. Although there were dangers before and after pursuit, the style and performance of the film made you feel relaxed and warm! Love this movie so much!

Hunt for the Wilderpeople quotes

  • Bella: [after Ricky gets a dog] What are you gonna call him?

    Ricky Baker: I'm still thinking. Something fierce to reflect its true nature. Either Psycho, Megatron or Tupac.

    Bella: What's a Tupac?

  • Hec: I've been to prison.

    Ricky Baker: Gangster! For what?

    Hec: Manslaughter.

    Ricky Baker: Double gangster! You need a teardrop tattoo!