Introduction
When I was in Pingyao last year, someone asked a very interesting question: Why are there so many movies in chapters? use? The rhythm needs to be accelerated, and the foreshadowing is not enough - mother-in-law, long-distance couples, cohabiting couples - too much information stacked in "The World Has Her" Even in the context of the epidemic in 2020, under the background of the female perspective, I want to get out of the eight o'clock family The temperament of the play is also a too idealistic thing.
"There is Her in the World" has a very tortuous road to finalization. It has experienced repeated withdrawals and changes from May 1 last year to the present. Now that we meet the audience, we can see the new expressions of the female directors we were familiar with.
About 's short film directed by Li Shaohong , there are comments on the Internet: Except for the consistently excellent performance of Zhou Xun , I cannot find any valuable expression. This comment also speaks for me, so there really isn't much to say about the first paragraph of the film. The content of this article mainly talks about the two paragraphs of director Chen Chong and director Zhang Aijia of and .
- Chen Chong: Returning in the pursuit of newness -
The whole paragraph is very beautiful, reminds me of Chen Chong's directorial debut "Tian Yu".
makes a relatively single space present a story through the beauty of images, and the use of lens language to excavate the deep-level information of characters is the reason why "Tianyu" won the Golden Horse Award . Although the main creator of the film at that time was only the costume designer , Pu Ruomu also participated in this creation. But I am still willing to regard this passage of Chen Chong as the spiritual continuation of "Heavenly Bath", showing the highest degree of completion among the three passages of "There is Her in the World". The paragraph
begins with a long shot of motion, following the female lead Huang Miyi 's point of view in the bustling New Year's supermarket, while explaining the background of the story - Xiaolu, a Beijing girl who is going to college in Wuhan, is about to meet up with her. College classmate boyfriend Li Zhaohua spent the longest winter in a long-distance relationship.
The atmosphere of the Spring Festival and the texture of black and white form an interesting contrast. This shot and Zhou Xiaolu's subjective-to-objective shot downstairs at her grandmother's house when she was visiting relatives set the tone for the entire film. It can be said that most of the 30 minutes of Chen Chong's work have a lens grammar. Another major setting in
Chen Chongjing's words is to use color to establish subjectivity and objectivity - the mobile phone screen is in black and white outside the color screen - the mutual warmth between the two and the cruelty of reality form a strong contrast.
Director Chen Chong himself explained her setting in this way: Memories are black and white, and only emotions are colored. I think it is more appropriate to interpret it as subjective and objective in terms of perspective. Unfortunately, this setting has not been implemented consistently. For example, when used his mobile phone to take old photos of his grandmother's house, if the mobile phone showed colors, it would make the setting more profound.
At the end of the third act, Xiaolu returned to Wuhan to pick up Li Zhaohua's relics, and the opening scene of a long shot of the hospital's exterior was in the fallen leaves after the rain under the boundless fallen trees, which was full of flavor. However, this atmosphere has completely fallen into a TV series rhythm since Zhou Xiaolu brought her boyfriend's relics back to the house, and the black and white color settings are also in chaos.
Just imagine, the tragedy of the whole article is based on the fact that young boys and girls in love cannot meet for one winter, and they are separated from life and death. The setting of and the mobile phone's screen as the way of presenting the opponent's play can make sure that the male and female protagonists do not appear in the same screen. The style of , as long as it is established, can be echoed to the greatest extent.The loneliness and pain of the virgin hero at the end.
In the current ending, the corresponding picture of the drama climax is an APP photo effect in Li Zhaohua's legacy mobile phone where the two grow old together. This self-defeating directly dilutes the performance of actress Huang Miyi, which was originally discovered by Chen Chong. Aesthetics and condition become thin because of this design. If removed this picture, it would be a long shot when Xiaolu finished collecting the clothes of the two that were finally dried, and then took Li Zhaohua's re-lighted mobile phone directly into the crying scene, the intensity would be much stronger.
Even so, in such a limited space, Huang Miyi captures the subtle changes of life and makes the character full of aftertaste. The air-to-air dialogue between her and Yi Yang Qianxi is full of the new generation's sense of strength and vulnerability. As one of the best Chinese actresses, Chen Chong has guided the two actors' clear personal brand, which is because the lens grammar is out of sequence at the end of the film. The biggest highlight of the whole film.
- Zhang Aijia: A gentle tribute -
The film begins with Zheng Xiuwen 's interpretation of the photojournalist's lens from the busy streets of Hong Kong; The picture of the bag of rice bought; the male manager of the restaurant who lost his job, but still wears a decent suit and takes the child to the park. There are many details full of warmth: for example, Zheng Xiuwen opened the door and entered the house to see scattered dirty clothes, and he was in front of the TV. The sleeping child thought that the Filipino maid was slack. After opening the door, he saw that the Filipino maid was coaxing his baby on the phone. The mother also gave an understanding of heart to heart...
And all this was accompanied by being caught in the epidemic. During the period of work and family, a couple of photographers are on the verge of breaking their relationship. It is the struggle of the protagonist Zheng Xiuwen's life pressure to gradually fade away from the pressure of life.
In "The World Has Her", Zhang Aijia used her own 30 minutes to pay tribute to the three famous "Marriage Life" in the history of movies. She has broken through her own mode of expressing women's life and writing subtle emotions between women with an aesthetic style that is not annoying.
"Marriage" Scener ur ett äktenskap (1973) Ingmar Bergman
"Marriage" Domicile conjugal (1970) Francois Truffaut It is strongly recommended that all friends who plan to get married take their other half to watch it together and stick to it (the effect of taking two films together is better) - these two classics are hot and cold, and both have strong personal traces of the director - after all The directors are the human scalpel Bergman and the film critic Truffaut.
The characteristics of the era in the 1980s can no longer be replicated. In comparison, the 2019 version of "Marriage Story" has a greater impact on Zhang Aijia.
"Marriage Story" (2019) Noah Baumbach
This influence is more prominent because of the heavy quarrel scene in the middle of the two films, let us compare:
With the epidemic The gradual pressure of Zheng Xiuwen and Feng Delun and 's anger and grievance broke out, which became the biggest attraction of the whole film. This scene of arguing at home began when the child was quarantined at home because of a fever. , The two were helpless at home waiting for the hospital's new crown test results. It started with a phone call and ended with the results the next day. The lines in the whole scene are very scattered, and Feng Delun's performance lacks a sense of substitution. Because it is a live shooting, the scheduling seems to be stretched, and even arranges his daughter to enter the painting in the last third to give the camera an opportunity to cross the axis, but objectively destroys the closure. Spatiality enhances the effect of conflictfruit. At the end of , the silent source music gradually enters and then jumps directly to the next morning when the two sleep on their shoulders, which is also contradictory in terms of film language. All of these show the director's hesitation.
But if Zhang Aijia's consistent female writing has given tonality to the 30-minute short film, then Zheng Xiuwen saved the ten minutes with her performance - her almost pleading accusations, broken beatings, whimpering and vague lines - all of the above seem The out-of-control place is the best and most real, and what is even more interesting is that she inadvertently revealed a kind of female clumsiness, but it gave the characters a huge sense of reality.
"I mean you are contradictory!" Zheng Xiuwen said with gnashing of teeth broken down during the quarrel. Work, children, home, love, each independent thing is so important, but after rubbing it together, it is suddenly so twisted and so tormented, which is exhausting and disappointing.
In contrast, "Marriage Story" , with the first private mediation of the whole film, after learning that his son might not be able to live with him, the male protagonist Charlie broke out and changed lawyers, and the reconciliation between the two parties may disappear. The camera quickly takes us to the place where this classic ten minutes takes place - the motel where Charlie lives. From the beginning of the whole scene, it was explained through dialogue that the child Henry would not appear. As the moves the mirror and opens the space, we see the hotel room like a cage, and with the suggestive action of Nicole closing the door, the two people's trapped beast fight kicks off. In addition to the sharpness of the lines, the positional relationship between the two also changed constantly, from the sofa at both ends of the room until Charlie knelt down and cried with Nicole's leg at the end of ten minutes. The entire performance was completed in one go, with 's equals Adam Driver and Scarlett Johansson holding the audience firmly in their seats with a dramatic tension, forcing them to examine the truth of life.
runs through the core of Zhang Aijia's entire paragraph in "There is Her in the World", is ultimately about women's awakening under the existing power structure and men's unconsciousness and incompatibility with women's awakening, as well as the irreconciliation brought about by the two conflict. When Feng Delun had to agree to Zheng Xiuwen's work as a photojournalist, it meant the reversal of the relationship between husband and wife's core rights and the loss of the dominant position of men. We sympathize with Zheng Xiuwen because we saw that her life was out of order and fell into trouble with the epidemic, but we did not see that it was precisely because she was the one who played the most role in her life that her subsequent loss was even more highlighted.
If Zhang Aijia part of "There is Her in the World" is counted as a member of the "Marriage Story" series, the valuable part of is to tear up the book full of "middle-aged people's life after marriage". When it opens, the pages are spread out in front of the audience for the audience to face, feel, and reflect on.
"There is Her in the World" is still a typical fragment of a work, and her various anticlimactic make me think of the cautionary work " don't look up " in the female scientist played by Jennifer Lawrence in a TV interview scene: may be in the face of the performance of certain events, it should make people scared and nervous; there should be no entertainment and sensationalism.
because we never know which comes first, the future or the accident.
作 者
三彩唐
摄影指导
高校教师
自媒体人
主编：栗子
typesetting: yangyang
