When "Young You" was heatedly discussed, and when Yi Qianxi was affirmed for the role of "Xiao Bei", the so-called "flow" was playing a positive role. It puts domestic youth films under the public eye again, and the audience sees the possibility of domestic youth films in another dimension. If
is directed by Zhao Wei's "To Our Dying Youth" as the subject, domestic youth films have gone through 7 years. In 2013, "To Youth" opened the valve of domestic youth films with 700 million box office. After that, "Left Ear", "Gardenia Blossoms", "You at the Table", "July and Ansheng"...the youth films ushered in a blowout period. Naturally, there is also the "Little Era Series" directed by Guo Jingming, 4 "Little Era", with a total of 17.91 at the box office, which is also a phenomenon. From this it seems that Qingchun films are the market's sweet pastries.
But these 7 years have also been 7 years in which domestic youth films have run out of goodwill in the pit of cheating, abortion, and love triangles, which makes people feel youthful. It was not until the end of 2018 that a "Dog Thirteen" was released, and "Over Spring" was released in March of this year. Coupled with the "Young You" that is now full of word-of-mouth, another possibility of youth has been seen. The youth film only took a sharp turn in 2018 and ushered in the second point of effort.
1.AB side
There has been a lot of discussion about campus bullying, which actually involves social topics, just like "I am not the god of medicine" and "Dear", the particularity of the subject matter will naturally bring "natural traffic" to the film. But I want to put aside the topic and just look at the film itself. When
first brushed the trailer of "Young You", the most impressive part was Xiaobei's following Chen Nian. The boy with his wounded face was standing on another escalator parallel to Chen Nian, with stories on his face. After watching the
movie, what impressed me the most was this section. In the setting of the
movie, the relationship between Chen Nian and Xiaobei is to redeem each other, "You protect the world, I protect you", and the two people in the gutter look up at the stars together. Xiaobei followed Chen Nian to protect her, just like her shadow. Xiaobei said: If you go forward, I must be behind you. Chen Nian said: One day, we can walk side by side on the street in an open and fair manner. At the end of the
movie, Chen Nian walked on the street, followed by Xiaobei, he no longer covered his face with a hoodie, he stood in the sun.
AB face relationship, which is often discussed in youth films. Two girls, two boys, or one boy and one girl, two different people created by different family environments and educational environments, react under the collision of fate.
, the director of "Youth in Youth," Zeng Guoxiang is also the director of "July and An Sheng". In the two discussions about youth and youth, he chose the way of presenting the relationship between the AB faces. "July and Ansheng" also has the setting of shadow, "If you step on a person's shadow, he will not go far."
But you are not sure, who is on side A, who is on side B, who is whose shadow, who is whose salvation.
is like July finally living into An Sheng, and An's life becomes what July originally hoped. It seems that Chen Nian pulled Xiao Bei, who was in the mud, to the shore, but Xiao Bei, who was covered in mud, has been protecting her. The
AB face should have the most space for discussion and depth of youth films. It can fit in most of the factors that shaped the youth: original family, school, friends, the future, a sense of security... It can also give people a sense of oneness. This kind of reverie, if the position is exchanged, will the master of the destiny go to the same fate as before?
It makes people see many kinds of diversity and plasticity about youth. This part of life is soft. When encountering a different person, a small thing will turn and even reshape it. This part of life is rigid, and it does not allow anyone to intervene. No matter what
is, it will eventually leave a seed in the heart. This seed will extend into adulthood and bear another story. The
AB face can be regarded as a relatively advanced way of expression in youth films, like a psychological experiment, which is exhibited in a cinematic way. When youth has multiple answers, this is a good starting point.
2. "Xiaobei"
"Xiaobei" is probably the more clearly portrayed adolescent in the domestic youth films I have watched in recent years. I do not hide my preference for him. Although the story of "Young You" takes Chen Nian as a clue, "Xiao Bei" is the carrier of this period of youthful pain and the carrier of this youthful sweetness.
z0Director Zeng Guoxiang said that when he first met Yi Yang Qianxi, he didn't think he was suitable for this role. At that time, Yi Yang Qianxi was too immature, and it was a thousand miles away from "Xiao Bei". But the second time I saw Yi Yang Qianxi again, Zeng Guoxiang found that he had grown up, with a slightly mature feeling that it was possible to enter the role of "Xiao Bei".The "Little North Feeling" requested by Zeng Guoxiang should never be given by Yi Yang Qianxi, who grew up on a normal track. One was cared by his parents since he was a child and started acting life in a planned way. Another was abandoned by his mother and became a gangster. No one ever asked him if it hurts. This kind of emotion must be divided. Zeng Guoxiang needs the young man to pretend to be mature, full of quagmire, but full of youthful heat and simplicity.
Yi Yang Qianxi is very close. The three-dimensional sense of the role of "Xiao Bei" is fully presented in him.
They don't fit, but they fit. They are just people standing in different positions, looking up at the stars. Yishang Qianxi has the cage of Yishang Qianxi, Xiaobei has the limitations of Xiaobei.
The combination of Yi Yang Qianxi and Xiaobei should be the biggest surprise of "Youth in Youth". The emotional relationship between Dongyu Zhou, who is full of aura, and Qianxi Yi, who has grown into a young boy, is convincing. Wandering between love, friendship, and shared adversity, the kind of inexplicable feelings. I thought it would be Zhou Dongyu's lead, but I didn't expect it to be a balanced emotional pull.
Looking at the boys in domestic youth films in recent years, the impression is always vague. They are so good for no reason, assholes are for no reason, and they are so beautiful that they are hung in the theater of youth like Facebook. It was as if it had changed its name and appeared in another film. The retention time of such a role is short and easy to be replaced, and there is only one "Xiaobei".
Xiaobei, that is a face with a story, it is also a face of a teenager. A teenager should be bright, sunny, and clear, but there are endless stories on his face, making you want to understand, analyze, and explore his possibilities. If
has a character who can come out, the film can be considered standing.
3. Juvenile films
In fact, I would rather subdivide this wave of domestically produced youth films that have gained a good impression into another dimension-juvenile films. The protagonists of these films are younger than the protagonists of youth films, and they are in the middle and high school period during the narrative time of the film.
Teenagers in the middle and high school period, their previous screen images are either embedded in the crisis of middle-aged people, or are obscured by the collective memory of the high school entrance examination and college entrance examination, and they are easily ignored. When sliding the time bar of life , No one will stay here for long.
As everyone knows, children at this stage are more sensitive, more vulnerable, insufficient strength, insufficient life experience, self-stubborn, full of distrust of the world, and the pursuit of collective identity, so that many choices they make are based on their intellectual knowledge. From the perspective of healthy adults, there is no way to understand.
They are solidified as the word "rebellious". No one is going to investigate "rebellion" for a reason. In the solid knowledge of the past, rebellion is nothing more than rebellion, which means "being panic."
is like in "Dog Thirteen", no one in the family understands why Li Wan went crazy and must find her dog "Einstein" back. Grandpa has a foot because of her obsession, and grandma is fascinated by her. Lu, she drank arrogantly for a dog madness, until her father ended her "work" with a beating.
is like "Over the Spring", many people don't understand. In order to go to Japan to watch the snow with her best friend, Pepe desperately saves money, and does not hesitate to be a water visitor to make money.
It is difficult for adults to understand what is the motive of a teenager. People are animals that are good at forgetting. When they reach adulthood, they will quickly forget that they have also come from adolescence. Faced with the various problems of teenagers, they "do not understand". Just like teenagers can't understand them. In
"You are a young man", the middle-aged police officer said: "No one will go to jail for others for decades." Police officer Zheng Yi answered everything in one sentence: "You and I will not, but they are young, they Yes."
Chen Nian and Xiaobei redeem each other in a self-destructive manner. In their opinion, it is a choice they have no choice. "At least save one person out." They will not consider the consequences as complicated as adults do. Will deduce various future variables in their minds, they just make choices in the present, loyal to their hearts.
They are complex, and they are extremely simple.
young people are easyI believe that there is a utopia in this world, and I am good at creating utopia imagination for myself. For example, in "Passing Youth", Pepe and her girlfriends yearn for Hokkaido, and in "You are a teenager," Chen Nian has to go to Beijing. They think that as long as they get there, everything will be different. They think that the pain will have an end and that if you go forward, there will be an answer. But I don't know that in this life, problems will only emerge in an endless stream, which is tiring to deal with.
As Li Wan said in "Dog Thirteen": "There will be more things like this in the future."
teenagers are always full of perplexed longing for growth.
Chen Nian said: "There has never been a lesson that taught us how to become adults." Police Officer
Zheng Yi said: "Growing up is like diving, just close your eyes and jump in."
Li Wan asked her Gao Fang, a few years older, said, "Have you seen a real adult?" There was no answer.
Young people’s persistence to themselves is sometimes ridiculously noble and sometimes terribly cheap.
They will modify themselves in order to integrate into the group and gain the approval of others, but when they adjust themselves, they will burst into various discomforts.
Li Wan, who wanted to go to the physics hobby class and wanted to retrieve the puppy "Einstein", finally compromised. She began to satisfy the adults and became sensible. But when she met "Einstein", she walked away in a panic, "I was so afraid it would recognize me, but luckily not." She knew that she had changed, and she was powerless to this change, but she felt sad. It should be painful to say goodbye to who I used to be.
In "Guling Street Juvenile Murder Incident," the teacher called the student to the stage and asked him to write the word "I" a hundred times. What exactly is "me"? What is the real me? Teenagers are always looking for things that are difficult to answer.
It is the confusion, perplexity, self and unreasonableness of pre-adolescence that constitute the elements of juvenile films. Exploring the reasons behind these actions, not exaggerating, not exaggerating, and expressing them in a modest way is what a teenager film should do.
When I first watched "Dog Thirteen", I criticized Li Wan's waywardness like an adult. But when I watched it again, I realized in a daze that I was there. "Dog Thirteen" has no blessings on the subject, it tells the story of ordinary junior high school students. It analyzes the girl's xinxing very delicately, unfolding layer by layer. After seeing it, people who come by have found that every layer has hit the me who used to be.
"It turns out that we all grew up like this. We didn't get pregnant, aborted, run away, or died, but we saw ourselves exhibiting a youthful beheading."
"this used to be our playground." Zhou Dongyu in "You" repeated this sentence at the beginning and end of the movie. As I read it, my tears flowed down.
This is probably the most precious thing about juvenile films-a realistic record of "once". Sometimes you don’t know, who is this filmed for? For teenagers? Or to us who were once teenagers.
"Guling Street Juvenile Murders", "Sunny Days", "Seventeen-year-old Bicycles", "Thirteen Paulownias"... There used to be many appearances of youth, but then people forget them.
I hope "Young You" is a new beginning.
