"The Last Night on Earth" is a beautiful art film.
The movie is filled with too much cinematic language that is not friendly to ordinary (such as me) audiences, but it does not prevent people from being fascinated and intoxicated.
The virtual and real time and space change, the shadowy Kaili village, the weather seems to be always raining.
The brown Kun watch rewinds the time to twelve years ago. Wan Qiwen was wearing a long dark green silk dress, revealing her fair and well-proportioned calves, and kicked and stepped on the muddy path. Wild grapefruit coins fell from the fruit machine, followed by a man and a woman hugging and kissing deeply.
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Some people say that the essence of this movie is love that cannot be obtained: Luo Hongwu is fascinated by the mysterious woman Wan Qiwen, willing to kill and throw her body; Wan Qiwen was deeply attracted by the love story in the green book when she was young, and fantasized about the beauty in the crystal chandelier. The house revolves with her lover; Luo's mother ran away to steal honey when Luo was a child, and never came back after a fire; the red-haired Kaizhen was left by her boyfriend to watch the scene in the billiard hall where the wind was blowing, and made a wish to become a Singers performing all over Guizhou...
Some people say that there is no love here, but it is actually an Oedipus complex.
Luo, the white cat, the twelve-year-old boy in the mine; Xiaofeng, Wan Qiwen, Kaizhen; the red-haired women of different ages - the carefully designed details and clues in the film constantly suggest the audience's relationship between different characters. identity relationship.
Green books, red apples, revolving houses, spells in verses, dyed red hair, ping pong balls—the recurring intentions are just as vague and drifting, making it impossible to make sense of the clear relationship among them, perhaps only a dream can bring them together. mixed together.
So these people are sometimes lovers and lovers, sometimes mother and son, father and son, and sometimes friends. Some film critics said that behind such a miraculous "screen Schrödinger" state. In fact, it is a fascination of a symbol that encompasses all male identities to another symbol that aggregates all female identities. In the director's emotional universe, whether it is a father, a son or a friend, what they are obsessed with and unremittingly looking for is a kind of eager expectation for the unknown, and what they feel is always the unsolved regret after losing.
——And the sustenance and projection object of this dual emotion are all condensed on an Oedipus complex-like mother/lover hybrid in the film.
It can even be said that the type of people represented by Luo always repeats the same story over and over again, and in the regret of permanently losing the object of their crush, they repeatedly experience the pleasure of "masochism". "Life is a Mobius-style sleepwalking of the soul."
A thousand readers have a thousand Hamlets. It is normal to get different opinions among the many fragmented metaphors.
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The imagery of this film fits my definition of "aesthetics" very well.
From the casting point of view, Tang Wei's appearance has penetrated into my heart - Wan Qiwen's makeup and clothes just outline the image of a "femme beauty": the swaying dark green dress reflects the enchanting and bright light in Kaili, which is always rainy and rainy. 's appearances are always accompanied by the element of water: cold rain, or swimming pools, where drips of water seep into the moss.
In Luo Hongwu's dream, the two women he had been infatuated with all his life: his mother and Wan, turned into Kaizhen together. Kaizhen, Carey's pearl, is cheesy and witty and cute, and Carey's words are bluntly mixed with a sentence of Mandarin. Her dress is obviously common among village women, with beast-colored fur floating on her red leather jacket, short reddish-brown hair sticking to her face, pulling Luo to jump and land in the air, like a Jin Min movie female detective in red pepper.
The mud houses with different heights, the gloomy sky, the billiards booth made of plastic sheds, the panic-stricken horses carrying two baskets of apples dropped all the way, and the Dong people shouted the grievances in the prison from a distance. The whole tone is dense and humid, and growing up in a mountain city, I have a natural affinity for Kaili.
In the second half of the movie, the audience followed Luo in the cinema and put on 3D glasses and entered a dreamland.
Then came a long shot of more than an hour into a maze of mines, where the boy wearing a goat skull moved down a ping-pong table from the door, with the image of an eagle engraved on the racket. They rode white motorcycles on dark mountain roads, one the kindest ghost and the other the most childish killer. He swayed down the mountain on the ropes as if he had experienced death from a twisted rope, and then saw Carey's pearls, the spinning racket and the house took them off, and some of the audience had wet eyes, I seemed to Smell sweet-scented osmanthus.
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Thanks to the so-called "One Kiss New Year's Eve" marketing campaign that can go down in history, this high-cost literary film has been covered with a commercial romantic film in the promotion, and the pre-sale has exceeded 100 million at the box office. - Too much attention made me stay away from it until it was released.
The marketing of movies is not inherently a bad thing, the problem lies in user differentiation. New Year's Eve couples are clearly looking forward to a romantic love story where everyone is happy, not watching a white cat nibble on an apple for two minutes in the shadows and dampness - even the apple core, amazing.
The reason for watching the movie is because the fan event held by Wonder Radio × Film Archive gave free tickets, and sat down quietly with a group of "hardcore fans" in the huge Dolby auditorium to enjoy the legendary "There is a whole Two minutes is a man eating an apple" art film, before the screening, he was mentally prepared that he might fall asleep in the middle.
In the end, he didn't fall asleep, but watched with relish, especially in the second half of the movie - the entire audience and the hero entered a dream, and the people watching were fascinated and fascinated.
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