After the screening of "Old Man of Mountains and Rivers" ended, the dimly lit theater lights up. Jia Zhangke, who is not a stalwart figure, appeared in front of the screen with actors Zhao Tao and Zhang Yi. I sat in the first row and anxiously waited for the director I admired the most. talk, excited.
In fact, Jia Zhangke is also very nervous. He has been filming outside the system for a long time, and he has not released a feature film in mainland China for 9 years. There is a movie review on the Internet: "The 45-year-old Jia Zhangke is still a diaosi at the box office, but he is an aristocrat at the film festival." Indeed, in the art palace that fifth-generation directors dream of, top international film festivals such as Cannes, Venice and Berlin Many of Jia's films have been shortlisted in the core competition unit. Section Chief Jia once said that he was shocked after watching "Yellow Earth" in the video room, and since then he has inspired his love for movies and determined to be a director. Now he is almost on an equal footing with world-class film masters, but this was shot by Chen Kaige and Zhang Yimou. A dream that is hard to come true after a commercial film.
Many critics claim that Jia's "Symbolic Success Study" is to piece together the dark elements of the bottom of Chinese society, add a little nostalgia, sell it to the West bluntly, rely on glibness to please the film festival, and then win numerous awards and more. He was called a "cultural businessman". However, more film critics believe that the Fenyang boy is old, and there is no longer a recognized "hometown trilogy" - "Xiao Wu", "Platform" and "Ren Xiaoyao" in the changing times. Sadness, the only constant may be that the disco on the speakers and the news on the radio are fading away.
So in fact? When a Shanxi accent appears in any film directed by Jia Zhangke, I will be very affectionately moved. I feel that I was born in the county in the film, with sweaters and scarves, kettles and iron cylinders, tape recorders and tapes, stoves and coals, singing and dancing Halls and KTV private rooms, Hong Kong films and Cantonese songs—the usual images in Jia Zhangke’s films are memories that he couldn’t give up when he grew up in a northern town. Xiao Wu, Cui Mingliang, Binbin and Xiaoji, Han Sanming and Shen Hong, Liang Zi, these people appear around us. They are our brothers and sisters, or are we ourselves.
I think Jia Zhangke's humanistic concern is that we can see little people like ourselves in the movies, and some people are willing to record them.
Today, when we use Weibo to see the world, use WeChat to chat, and use Alipay to check out, we are accustomed to plugging in headphones and brushing cold text and pictures, and being overwhelmed by the endless flow of information. When the villagers who repeatedly petitioned and intercepted and the owner of the BMW who broke up the Mazda were diagnosed as mentally ill, the victims of the Binhai New Area bombing and the murder of left-behind children became strangers in the hot news. As a laughing stock, people still choose to indifferently forget it in the virtual world. Can we give some attention to those little people in reality? Can we have a better understanding of those around us who have different demands? Can we make this society work more warmly? Can we stop letting old people die? When the media weapon numbs our sense of society, if those who are watching are still willing to stand with power and destroy the care that should appear, maybe the martial arts in "Tian Destined" will become a dagger into the society , stings our conscience fiercely!
20151016 Tianjin
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