"Sunshine" is actually very simple, in this sense it is nothing new: it is about symbolic debt repayment. The first part of the
movie shows the conflict between each character, laying out their debt economic relationship, but this debt relationship is in dispute. So it was the death of Ahao that really started the movie: it judged that "father" Awen owed a symbolic debt to "son". Then "Son" Ahe was entangled in former accomplice Caitou after he was released from prison. "Father" rescued Ahe by killing Caitou and repaid the symbolic debt owed to "son".
This is the backbone of the movie. In this sense, the younger son Ahe repays his own symbolic debt (he hurt Heilun, made Xiaoyu pregnant, and "betrayed" the symbolic debt owed by Caitou) the entire genre of popular drama , Can only be regarded as a supporting role, a branch line. What Zhong Menghong did was to sprinkle the realistic texture of the society on the popular drama, and we have to say that it was very successful. It gave every scene, especially the whole auxiliary education institute of Ahe and his subsequent experience. , A clear and true grip, and almost every actor gave their best performance, proficient and refined. What is the problem with
? The problem is that Ah Hao’s death is a functional existence in the movie. This death is a foothold and a tool for the "father" to obtain atonement for his sins, and the film’s repayment of Awen’s debt and Ah Hao’s death are essentially nothing. It doesn’t matter. It’s almost impossible to think about him anymore. It seems that the passion to give this father an indulgence is so overwhelming that the movie is the most popular after Ahao was thrown downstairs. Forgetting him quickly, it even feared that this indulgence was not successfully delivered to its destination, that Ahao had to give the father the greatest forgiveness in his dream in the form of a good ghost.
's usual saying about Taiwanese movies, "On the surface, a certain kind of joys and sorrows are actually to serve the need to expose social issues." Therefore, it is a false approach, because more often at least in the "Sunshine Here, the opposite is true. It is not "some kind of sorrow and joys on the surface, but actually to serve the need to expose some social issues", but "the ostensible social issue clusters actually serve the needs of some sorrows and joys."
Therefore, what we should investigate is what kind of symbolic efficiency exists within this mental state. Why did Ahao's death "in the dark" contributed to a cigarette between Ahe and his father? This "in the dark" is the distortion of "warmthism" to the world. It is the "family order" or "warmthism" that holds the world alive and alive, transforming "obstacles" into one's own "keep moving forward" ( The desire to move on is completely obscene in this sense.
Ahao became a symbolic bargaining chip at his mercy after his death, paving the way for his father’s false symbol of "atonement". The ultimate goal is to ensure that the reproduction of "warmthism" desires will not fall apart and avoid our fear of world destruction. So that "keep going." This is why my father became a tragic hero from the moment when he was an anti-hero until he finally revealed his "sacrifice" and welcomed his wife Qin's embrace. What he saved was not the next Ahao, but warmth.
This is not just a fatal flaw or something, it is the betrayal of the film's secret mission to itself.
Therefore, it is worth noting that Zhong Menghong is not unsuspecting about it. However, what is more noteworthy is that the movie only set up something that can be called "road speed bumps" as its countermeasures, such as his father in driving school. The gradually lengthy speech at the graduation ceremony, the film tried to use the absurdity created by letting it come to an abrupt end, or the sympathetic remarks between husband and wife, to make a futile and vain move about "keep going" Defensively, it is really difficult for them to compare with Zhong Menghong's black humorous scenes that played an alert function in the past, which are more like sour milk here.
But wait a minute, doesn’t Ah Hao’s "suicide note" provide us with the ultimate defense or even attack against this obscenity, that is, Ah Hao’s double interpretation of the title "Sunshine": Sun is not a warm embrace, It is the obscenity of the Almighty Law. Isn't this duality supposed to be the focus of the "sunshine"?
However, because of this, it makes the second half of the film completely unaware of its possible duality.It’s unbelievable to go backwards, as if the movie was so unable to face the truth about itself that it discovered, that it immediately suppressed it after crying hysterical. Don't ask why Ahao died, and don't worry that he will come and ask us for something we can't give, he will understand us! He even came to save us! Help my father reconcile with Ah Ho! No, this is obscenity. It is our desire to release our anxiety and be smuggled into Ahao's return. The movie is satisfying our desire.
If the movie really regards Ah Hao’s excessive kindness as his painful self-depreciation, as a kind of masochistic zero resistance under the obscenity that has nowhere to run (to let him get bigger by showing his own abuse completely) The movie made him come back in tears, and successfully contributed to the restoration of the family’s order. It was a nauseating wiping off and the ultimate enslavement of obscenity, because it did not even dominate. It's just Ahao's body again, but the symbolic effect of Ahao ('s death).
I feel more like that kind of argument: "But secretly, because of this or that kind of detail, isn't the movie actually criticizing what it presents on the surface?" The film critics are passionate about this, completely It is self-hypnosis that misses the point: "Isn't the return of Ah Hao's over-consideration just because the movie is secretly criticizing the people's domination of Ah Ha?", "Isn't this reserved for the audience to think for themselves?", "Is it just that? Is it role typing?". It is reminiscent of the story about the trolley and the guard: the guard suspected that the worker had stolen, and checked the worker's trolley every day, but it was empty, and finally found that the worker had stolen the trolley. When film critics use probes to sniff the details of each dismembered frame and try to find out the amazing hidden truth layer after layer, they are completely missing the most obvious aspect of its surface form itself. One truth of the truth: The movie completely treats the return of Ahao’s ghost and Awen’s exposure of the final salvation for his son as a genuine and touching moment that washes people’s hearts.
These arguments not only let us off the hook too easily, but also completely neglect the hollowness of the image of A Hao, which is far more inclined to make the film’s attitude dangerously excessive to condescending, like As usual in topical movies, Huang Rongsheng's "Little Beauty" is the worst example of complete failure in this sense. In addition, the side effect of this design of "Sunshine" is that it makes the film clearly outstanding and proficient in thinking about the other half of Ah He (although it is difficult to say that it is unique, it has its own problems, but this is already another. A subject) is in a semi-suspicious state. I even think that it limits the possible depth of the role of father, so we should not mistakenly think that we should vent all our cheap anger on Awen, who is just incompetent. In this sense, the entire second half of
is also given a functional task. It is a libidinal economy (libidinal economy) that the film conspired with the audience to exchange for the prince, through one that can most arouse flooding emotions. The genre of popular drama, through the audience’s hope for Ah He’s complete family life, transfers the audience’s thinking to a pure passionate satisfaction, by introducing another obstacle (caitou) and disguising it as the only important obstacle, It is logical to ask my father to eliminate this obstacle and elevate my father to the position of martyrdom "tragic sacrifice" to save and satisfy our belief in "family order" or "returning things to the original place", and this belief is substantiated as Ahe New family, and the true time finally ushered in Ahe and his mother. The whole second half of
is to allow us to escape the real obstacle-the obstacle posed by Ahao's death-the carefully designed morphine, we are satisfied, so we retrospectively make the movie ambiguous about Ahao's death The "reflection" and the legitimacy of its transcendence, so far the film has completely become the obscenity of the omniscient and omnipotent "family order" that I declare to oppose, and the most indecent part of this operating mechanism is to use superficial self-criticism to achieve re-acceptance. Recognize the purpose of the legitimacy of their own control.
Therefore, when Ahe, who has experienced catastrophes, invited his mother to ride a bike in the falling sun, warmth declared its victory. Far from being able to project our wishful thinking that the duality of "sunshine" still exists in Ke Shuqing's melancholy looking at the sun, we should face the cruel fact that the movie is a real escape. I even thinkThis shot is the film's "Freudian slip" (Freudian slip) revealing its own shame, which is very suspicious. What really happened on the screen was that Ah Hao’s death was completely made as "one of the irreversible rules of the operation of the world." Therefore, it is impossible for this lens to have any deceleration pad effect, but to bow to warmth. . If there are any attempts at Zhong Menghong's signature duality, there will only be one dying. I even think that trying to play with the mysterious and Buddhist intention of the title of "Sunshine" is a kind of cunning at the end of the movie.
I am far from feeling that Zhong Menghong, who has been trying to shoot "The Fourth Picture", "Lost Souls" and "Doctor", has become a supporter of warmth. In fact, I even think that Zhong Menghong made this movie probably It stems from an aversion to warmthism. However, because of this, we should be generous to admit that Zhong Menghong did meet his limitations. "The Sunshine" spreads his hands "Everything is like this", but it is difficult to keep the soberness that he claims to be caught in the urn under the threat of warmth. It is not Zhong Menghong's victory, but a regression. This also makes me more pessimistic that "The Sunshine" shows that Taiwanese films have encountered the warmth "event horizon." Under the subtle influence of warmth, we cannot see more possibilities.
If I were to assume the problems encountered by Zhong Menghong, I would say that he seems to have misunderstood his framing as the limit of reality, or that we are too accustomed to giving a too simple topic Facebook It is understood that it is the only possible way to change the legitimacy to the emptiness of the social reality of high-achieving students who have repeatedly jumped off the building into the hollow image of A Hao. This is why the movie can only borrow an animation of "Sima Guang's Fable" , A suicide note about "Sunshine" and Wen Zhenling’s choking note on the farewell ceremony define Ahao in a broad sense, while maintaining a superficial ambiguity, but at the same time making a premonition that is obviously too superficial. Suppose the answer is ready to come out, so that it eventually replicates what Ahao's interpretation of the duality of "sunshine" reminds us to take warning. The problem may be that the framework itself was wrong at first. This nauseating seems to be behind thinking laziness, but it is actually an anxiety about incompetence.
is very strange to see a movie claiming to base itself on the reflection of the failure of the meaning system, and finally explode meaning in the most excessive way. This reminder from "Dialectic of Enlightenment" may be useful here: "Consciousness does not like to think of death as absolute nothingness. Absolute nothingness cannot be considered. And if it is the burden of life For those who have fallen back in the world, the situation of the deceased seems to be better for him. The method used by the bereaved to reorganize their lives after the death of their relatives, the complicated rituals of worshipping the deceased, or better say the forgetting The rationalized sophistication is a modern version of the belief in ghosts and gods. This belief takes the form of sublation as spiritualism. Only when we are fully aware of the fear of death can we establish a correct relationship with the dead: we are one with them, because We, like them, are victims of the same situation and despair.”
