text/耷子
only use three views to measure the pros and cons of a film and television work, which is not the correct way to conduct art criticism. What is important is whether in the process of challenging the so-called bottom line of general knowledge, whether the characters' behavior, motivation and predicament are standing up, whether there is a hidden projection from real life, whether it can make the audience think or even stimulate Empathy. "About Winter" has obviously become a negative textbook. It seems to have triggered a cognitive earthquake about love with a fearless attitude of the ignorant.
In addition to the highly textured shots of photographer Li Pingbin, "About Winter" is a lackluster and extremely absurd movie . From the script to the editing, from the role to the performance, the film reveals the disturbing cognitive level and weak narrative control ability of the screenwriter and director. How bad is this movie? It’s so bad that every character is reduced to a puppet controlled by a choreographer. In the 20-year love tug-of-war, the hero and the heroine did not change and grow at all. They clenched their teeth and insisted on the behavioral model of "male scum and female scumbag". In Hei, until Qi Qin gets old, until their children talk about love inexplicably.
"About Winter" has a degree of hypocrisy and an empty index comparable to "Hello, Zhihua", but it is difficult to find a frame of reference for the degree of childishness and chaos of the story. Originating from the encounter at Qi Qin's concert in 1991, female college student An Ran and Taiwan photographer Qi Xiao had a secret relationship. The former ignores the spare tire warm man, and the latter ignores the female model Ye Yuchen who has been with him since the age of 19. The Kunqu opera actor in the film sings: "I don't know where I am, but I feel deep in love"-the screenwriter used a shameless way to solve the problem of why the hero and the hero fell in love, but the subsequent separation and recombination of the two have piled up one step after another. But go to the question mark.
An Ran yelled painfully after breaking up his relationship: "The old will not go and the new will not come", and the spare tire timidly asked: "Then am I new or old?" This question is precisely the screenwriter who is defining the entire movie. In the logic of the story, the problem that was ignored and blocked-whether it is the old father who needs to take care of it or the difficult business of the studio, it is difficult for Qi Xiao to get the relationship with Ye Yuchen to the table and have a showdown with Enron, which also makes us unable to believe it. There is any sense of belief in this relationship. This kind of call-to-call-to-come-to-go sentiment obviously cannot move the audience. An Ran once said harshly with Xiao Xiao. If you leave now, we will break up, but the other party turned his head and left. As a result, whenever Qi Xiao returned shamelessly, An Ran would wait for his soft landing with cheap nymph tears.
In this movie where everyone is extremely selfish and most people are annoying, Qi Xiao’s old friend Ye Yuchen is the only character who makes people sympathetic. You can even forgive her every time she lied and collapsed, and was willing to stand with her, tearing Qi Xiao and An Ran, the lovers who seemed to be mad. When Ye Yuchen expertly arranged capsules for Qi Xiao's old father, you would secretly ask-have you seen such a love movie? The feelings of the heroes and heroines are totally unworthy of blessing. Forcibly sensational and pretending to create a life-like dialogue can not evoke a tear of the audience. What are we experiencing with the protagonists?
The actors are helpless in the face of ridiculous stories and silent scripts. Ma Sichun, who built a strong acting confidence from "July and Ansheng", launched a full sensory performance for this movie-trying to challenge the role transition from campus pseudo-loli to workplace bone spirit, but each stage of the performance was a failure. She is neither like a talented Beijing Normal University student (talented people will not say to others "Do you just value my talent"), nor is she like a nationally popular intellectual female host (in Ye Yuchen's TV talk show, The amount of information and eloquence displayed on the table is zero). As a leader in the industry, Qi Xiao's bottomless acceptance and smirk are incredible. As for Qi Xiao, until the end, there was no trace of traits that could make An Ran's heart fall, and Huo Jianhua was beaten back to the original form of an idol drama actor, slick and contrived. Another failure of
"About Winter" is an attempt to once again adopt the method of "In a Hurry" to play the nostalgic card, using iconic pop music and various era symbols to win the favor of the 70s and 80s, but The problem is that there are many errors and omissions. For example, in the 1991 clip, "Waiting for a Thousand Years" was inserted (the "Legend of the New White Lady" was only introduced to mainland China in February 1993). After the new millennium, "Pickup" and "VIP" appeared in the mid-1990sHot words that appear. Although the film is very hard at creating a sense of the times (especially the setting), it is still difficult to get rid of the flaws that are everywhere.
"About Winter" is neither a typical straight male cancer movie, nor an expected female growth movie, nor a tear-jerking youth warmth movie. You don't know what it is. Perhaps, it is just a movie made by Rao Xueman squatting at home and making a fool of himself. In the film, Sun Yaoyao, An Ran's best friend, said when he fooled investors: "We want the audience to enter the scene quietly and come out crazy." But this time, I wonder if the director is crazy or the audience is crazy?
