When watching the movie, I was very afraid that "The Party at Southern Station" would be made into a rural crime movie. A remote village in the south. The actors wear unrecognizable costumes and speak some funny dialects. No matter how high their appearance is, it is difficult Overhang.
is more stylized than the previous film "Fireworks in the Day" and "The Party at Southern Station". The deliberate use of artificial lighting and shadows gives the film more psychedelic colors, and it is narrative. It looks broken a lot.
Chen Kaige said that film is the art of directors in his participation in "Actors Please Take Place", there is no doubt. Diao Yinan proved his ability to tell stories with "Fireworks in the Day", and now uses "The Gathering at Southern Station" to prove his ability to make movies.
always feel that this movie has a mysterious magic. After watching it, various plots and scenes appear repeatedly in my mind. What attracts me is the audio-visual effect catalyzed by this unique image processing, as if I have arrived in another space, in real and real Switching back and forth between the virtual, covering the reality.
"The Gathering at Southern Station" is quite black and humorous. The policemen who dance square dancing, those who ride motorcycles, and those who wear fake luxury goods are no different from criminal gangs except for their inner identity. Zhou Zenong, who killed the policeman by mistake, was forced to be a bad man, struggling on the verge of good and evil in his escape.
Time is a magical catalyst. After many years, Gui Lunmei is no longer the young girl. She is more and more beautiful in front of the camera. The film sculptor, the feminine weakness and perseverance go hand in hand with her. She interprets Liu Aiai’s complicated heart. To be restrained and restrained, hovering between rationality and sensibility, Liu Aiai, the swimmer who wears a sun hat, looks like a knight in Tsui Hark's movie.
Hu Ge's character looks more like a good person, and Liao Fan is more like a bad person. A good person and a bad person are often not defined by looking at their faces. In this way, it gives us a deeper understanding of the role.
Diao Yinan seems to want to establish his own violent aesthetics. He uses static objects such as news and newspapers to express the pain of the character, and relies on character movement and scene scheduling to show the character characteristics of the character. The director is too literary and uses "elegant violence" "I don't think it is too much to describe this movie.
deliberately stop and go on the way to escape and show you the scenery. It seems that these lakes, trees, and cities are the protagonists. Jinghedong is an interesting role exchange between the wanted criminal and the police, and then through the "Beautiful Shuttle" "Luo He" looks for the beauty of the third world.
But these lights and shadows are fake, and the beautiful women with heads and snakes in the circus are also fake. Some people want to get that 300,000 is real. Zhou Zenong, played by Hu Ge, failed to plan to choose from the beginning, and it seemed to add heroism to this character and let us empathize with the character. The
movie may have set the record for the most casualties in the domestic crime film of the year. The clear gunshots, the bright red blood, and the horror scene of a headshot that one second cannot be forgotten. On the other side is a quiet lake, strange shadows, and motorcycles thundering at night.
In the second half of the movie, Liu Aiai and Zhou Zenong disembarked and arrived at the shore. Liu Aiai said: Brother, your luck is really good. At this time, the motorcade on the side of the mountain drove towards them, and the car lights in the distance were like UFOs in the sky. This was a symbol of hope or the approach of death. The fragmented pictures of
are spliced one by one, and finally a whole surreal story is connected in series. If it is analyzed in combination with reality, many plots in the movie are illogical and lose their magical color.
Liu Aiai's knightism and Zhou Zenong's heroism can only be established on the basis of detaching from reality, so this is the embodiment of the director's stylization, and the light and shadow may be what the director really wants to express.
