I always feel that some directors’ films must be seen in the cinema, not specifically how valuable these films are at the box office or that only the big screen and stereoscopic film can satisfy a stronger sense of reality and an immersive viewing experience— —Of course, this is one of the important reasons for going to the cinema, which also makes the second reason seem a little paranoid and ridiculous. For people like me who are distracted and ready to go astray at any time, it may only be possible to press me It was only when the two-hour task in a pitch-dark theater was "watch the screen carefully" that I could watch it meticulously from start to finish. "This Is Right Then Wrong" has the director's personal style very much. I can't help but sigh while watching. It turns out that the distinctive Hong-style eccentricities have to stubbornly appear in each of his films. In the meantime, it was obvious that it was only three inches down from the navel, but Director Hong insisted that this matter be brought out, and brought it up on the stage to rant about it for a few hours. It's not boring and tedious, on the contrary, it's ambiguous and subtle, making people laugh. Director Hong Sangxiu drinks, chats, brags, and grumbles, and it is particularly meaningful to express the wretched, lustful, warm and lovely performance of the middle-aged oriental man. Subtlety is the biggest feeling I have after watching the whole movie. For about an hour and a half in two hours, there is a delicate and ambiguous air flow, like a tight coat on the street on a winter night, stomping my feet, and can't help trembling towards warmth. It's hard to cut off the pink bubbles that were rubbed between the two of them, and the white breath they exhaled rose and fermented in the empty alley. It kind of took off my pants, but I dared to do it. It is limited to this repression, and it is a reluctance to say anything.
Standard oriental film style - delicate and restrained. At the same time, the director deliberately weakened the focus of shooting and post-editing in an unconventional way, abandoned the traditional dramatic refinement, and turned his face away from the arrogance when confronted with the phrase "art is higher than life". It was all daily dialogue. Hong Shangxiu gave the actor what he wanted to say, and the actor sketched the picture for us after figuring out his feelings. As for which of the rambling lines is nonsense and which is poetry, it is up to you to digest it yourself. Language is the root of misunderstanding, too much words will be lost. Silence is Jin's careful wording; words that everyone agrees with can't be called expression, so always prepare for a tit-for-tat confrontation with emotional outbursts. The author echoes the title of the movie - "Right Now, Wrong Then" "Trivial is the normal state of life, what's right? What's wrong with it? Although life is trivial and dull, Hong Sangxiu made it bloom.
I heard from an interview show that Hong's script is very loose, and many details have to be played by the actors themselves. Especially in this kind of re-enactment performance mode, it is particularly important to grasp the details, whether it is the undisguised lust and sweet talk of the male director in the first part or the drinking and candid treatment of the second part, and the female painter. The difference change from passive to active attack is all too natural!
The film's leading actors, Zheng Zaiyong and Jin Minxi, not only did a good job of figuring out the characters' personalities, but also vividly displayed the various ambiguous emotions surging between men and women. What are the factors behind the gradual emergence of good feelings and the lingering flow of love desires? The two-stage combination of clips is more like a social practice. The director made a gesture of rubbing his hands and wanted to discuss it with our audience. From another point of view, the director has really sublimated the awkward aesthetics, plain composition, fixed point of view single shot, unchanging depth of field, long-term perspective, close-up, seemingly inexplicable dialogue, in fact, it refers to the east and west, only thin cocoons. Twist to feel the subtlety.
Awkward aesthetics and fixed shots are standard in Hong Sang-soo's films, the two possibilities after hitting on a date, repetition and difference. Simplified beginnings, bland encounters, awkward chats, the crispness of the collision of soju glasses, the politeness of mutual praise and flattery, casual physical contact, intentional or unintentional touching of heartstrings... No cuts, no transitions, or even no switching of camera angles, you What you see is everything, no head, no idea where it comes from and it makes people lazy to imagine where it will go. The director is like picking up a piece of plasticine, kneading the time in the movie, stretching and stretching at will. Change, at first glance, it seems that there is nothing, but it seems that it is full of infinite possibilities. The director re-engraved his own films, creating differences in subtleties, and promoting the development of different plots in the parallel space. However, there are thousands of regrets, and everyone is different. Because of the long shot, the scope of the movie screen is very fixed, and the director's line skills are very demanding, because repetitive things can easily form a fixed thinking mode, how to surpass yourself in the same movie and make the plot better Being unconventional is a delicate job. Hong Sangxiu didn’t go to the film festival, but he explained his film language in advance, but it’s just a way of expressing language, it’s a language that has nothing to do with your life, it’s nothing great. ' said the director. It's just, "People live and do the same thing."
The so-called love in the world is nothing but the white porcelain plum soup in midsummer, when the broken ice hits the wall with a clanging sound. It is better to admit frankly that everyone is born from ideals and dies from desires. No matter what is right, it doesn't matter if it's wrong. Those things that come from fate will eventually die out and leave, so don't be sad.
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