To be honest, watching " Safe Evacuation from the 21st Century " was a little difficult to get into at first, but gradually I felt the unique expression of director Li Yang. Even if you can clearly explain what the movie is about, if you don't watch it, you won't be able to appreciate how crazy the way it was shot is. As a contemporary of Li Yang born in the 1980s, there are many elements in the movie that I am familiar with and will arouse my nostalgia. But what surprises me is that many younger audiences like this movie so much.
Obviously, the expression of this film is of a very special type. It is a bit of a carnival-like work. Its cult effect sometimes makes you feel like you are watching a Japanese nonsensical weirdo movie. I remember browsing the short video and seeing Guo Qilin being invited to watch the movie by the starring Zhang Ruoyun. He expressed on the spot that there are actually movies shot in this way, and sometimes it feels like watching a cartoon. Although he did not use professional words to describe those scenes, he more or less represented the intuitive feelings of some viewers.
The uniqueness of the movie itself lies precisely in the fact that in addition to the so-called movie shots when talking about movies, it contains particularly exciting animation special effects, the animation itself, and the mix and match of animation and real scenes, allowing the audience to see a particularly relaxing and harmonious movie. And extremely flamboyant visual presentation. And in these fast-paced scenes, there are more funny and nonsensical comedy elements.
It can be seen that the main creators, of course mainly director Li Yang, always try to use humorous and crazy methods to get rid of those cruel realities. In fact, the more they try to cover up and dissolve, the easier it is to be remembered. And it is in this way, Only then can movies more elegantly tell the story of youth and love that audiences are accustomed to. It can be seen that these humorous and bizarre tricks, which are extremely divorced from reality, seem to be some kind of cover for the pain of youth.
Wang Chengyong and Yang Yi in 1999 shouted to their future selves "Don't become bad", because there are too many things in growth that will eventually alienate people, so 20 years later in 2019, we can see that they all It turned into something else, something I didn't expect at first. For Wang Chengyong, what is even more desperate is that his good friend bubble will fall in love with Yang Yi, the woman he has always liked in the future.
As for King Zha (played by Zhang Ruoyun), he said that there was nothing in the world he liked after growing up, only Liu Lianzhi. This is a way of expressing love that is very consistent with the temperament of the film. People who don’t want to grow up, even if they don’t have the ability to travel to the future, are destined to grow up. This sense of irreversible helplessness pervades this crazy movie. Therefore, since they must grow up, they hope that their future selves will not become bad.
Of course, good and bad are very absolute and single concepts. It is difficult to define things in the world in terms of good and bad. They just lived a certain way that they didn't want to see, but their inner world, especially the souls brought from 1999, still want to make themselves better, so they will defeat Han, the incarnation of the devil in 2019, together. Light. I have to say that Wu Xiaoliang, who has participated in many film and television dramas in recent years, has a unique appearance and is indeed very suitable for playing this kind of villain.
In the midst of the fast-paced madness, the narration suddenly became serious when it occasionally calmed down. Among these fragmented images, or the relatively lyrical depth in contrast, there is a relatively profound expression, just like a movie. Suddenly in a certain scene, a Schopenhauer quotation appeared. Even if you don't see clearly what that sentence is, you at least know that although the creators don't want to make that kind of pretentious literary film, they also remind the audience that they are expressors who have read philosophy.
Although I don’t want to grow up, it is impossible, and often when I say this, I am no longer young. Only when I witness the pain and helplessness of growing up can I have to admit that I don’t want to grow up. desire.Rather than wanting to become bad, it may seem that it can be avoided, but what exactly does "bad" refer to? Especially after experiencing the consumption and experience of the adult world, some people may find that this badness may not be able to get rid of. The same is inevitable.
So the future self will not know whether it has become bad, or it cannot face this problem, because their brain is the brain of 20 years later, the brain that matches the body and time at this moment. So only in 1999, the relatively innocent self could save the "bad" self in the future, thereby achieving some kind of safe evacuation.
In fact, behind such a crazy and jubilant story, there is the irreversible helplessness of life, so those who were moved by this film also hope that a dandelion can go back to the past, so that they can get rid of the heavy and heavy present. The desperate body and the tortured soul...
