Zhong Menghong is the most unique existence in the Taiwanese film circle today. He always shoots movies with his own rhythm and method, composes a helpless and warm life story with his unruly style brush strokes, connecting the old and new generations of directors in Taiwan In the process, it constantly shines and collides with the sparks of human nature.
was saddled with the Golden Horse defeat of "Good Trip" three years ago, Zhong Menghong used "Sunshine" to bring a more stable pace and tone to reunite with the audience. The story starts from the perspective of a small family being imprisoned because the son and friends seek vengeance and murder, and the life and family relationship has deteriorated. It leads the audience to witness how the family is gradually disintegrating in the seemingly calm appearance. Also see how life and family affection slowly heal in the faint pain of scars? "Sunshine" forms a metaphor in this film, using the relative relationship between light and shadow to contrast life's ecstasy. Zhong Menghong buried his tenderness in the picture, delicately cooking the life story intertwined with tears and sweat. After the blossoming of Taiwanese films this year, the mature temperance of "Sunshine" is a good movie worthy of the audience's cherishment. Although
is “sunshine,” according to Zhong Menghong’s story logic, it is of course impossible to be bright and warm, just like the road trip in "Good Trip", which is actually not smooth at all. Zhong Menghong does not shy away from exposing the scars of society. The family drama "The Sunshine" continuously reflects the life of the middle and lower classes in Taiwan, triggering the social resonance of the impression of patriarchy, and touching the causal relationship between the imbalance of paternal love and family disharmony. . And even if the description of the underworld has got rid of the absurd label of the past, it relies on Liu Guanting's emphasis on quality and weight to portray a completely different face for this traditional social story. After all, I can feel it, Zhong Menghong and " The Sunshine is indeed well prepared.
Sunlight is an analogy of the warm sun illuminating the world and creating shadows at the same time. People often embrace the light, but ignore the existence of darkness. Zhong Menghong uses the role of Chen Yiwen's father to reveal family relationships and successfully captures the father-son model of traditional Taiwanese families, opening a wider path to the central structure of the movie, and paving a richer level of affection change. Chen Yiwen's role is a driving training class coach. He has not many achievements in his life. He treats the gifted elder son in every way, but he is blind to the rogue younger son. The former is Xu Guanghan; the latter is Wu Jianhe, and the three actors are calm. The clever fusion and collocation have brought the unspoken tragic life of the movie to a more real realm, without any sense of violation. Among them, Chen Yiwen's exquisite and exquisite interpretation fully interprets the role of father as a symbol of dignity and authority in the family status in Taiwanese society. He is not entirely a good (bad) father, but he always exercises his father's love in a selfish manner. He has an introverted look. He couldn't hide the turbulent waves in his heart, but he didn't easily let it out, just as he was full of paternal love and guilt, but he didn't want to show his expression. With proper control, it is one of the best performances so far this year.
The artistic conception of sunlight has more obvious foreshadowing and effect on Xu Guanghan. He has excellent homework, good-natured nature, considers everything, and is the only son his father is willing to admit outside. Xu Guanghan and Wu Jianhe are like a strong contrast between shadow and sunlight in the play. One is so painful that there is nowhere to hide; the other is so painful that no one can go. Zhong Menghong found another level of father-son relationship in Xu Guanghan’s role. It was different from Wu Jianhe’s misguided path and turned into speechlessness. Instead, he photographed the parenting model of a contemporary family looking for a child to become a dragon, which is actually putting pressure on children in a disguised form. It may even be the cause of the tragedy. Xu Guanghan has few scenes, but he has the opportunity to become the most tearful part of the whole movie, and he used another style to set off the performance of other actors. In fact, a lot of credit has been given to Wen Zhenling, who also has few scenes. A performance with very high texture and concentration. Wen Zhenling's "Sunshine" was shortlisted for the best female match of the Golden Horses, which reminds me of the scene where Michelle Williams was shortlisted for the Oscars with "Manchester by the Sea" a few years ago, and there is a play that will determine the outcome.
In terms of narrative, the objectiveness of "Sunshine" provides multiple empathy spaces. Zhong Menghong’s plot processing is more like pulling a chair next to you and watching what happens next with you instead of telling you what is about to happen. . Even from the perspective of the deepest villain Liu Guanting, the nature and development of the story are still sad. However, even though Zhong Menghong's concretization of the proposition "under the sun is shining, everyone has a shadow" is not entirely sad. Otherwise, he does not need to be almost ridiculous to translate the slogan of the driving training class into the motto of adult students,"I didn't calculate it well, and then I took it out and calculated it again, and also named a girl whose parents died accidentally. Because after all, life is still involuntary and elusive. In the end, I have to laugh at life and move on to the next tomorrow. In addition to regrouping the family structure and examining family issues, the sense of responsibility passed down from generation to generation also slowly falls on the shoulders of the characters. Under the light of the faint sunlight, there is more emotion than sighs, and several bird's-eye shots are more like overtones. , Adds a lot of loneliness and warmth to this realistic movie focusing on small people, and it is as warm as the development of the two small characters in "A Good Trip" who walked together and supported each other. The scars of
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narrowed the distance between the characters and filled the gaps of the characters. A warm and affectionate force penetrated from behind the dark clouds. Although it was not enough to change the world, it was enough to soothe people's hearts. It made Ke Shuqin's collapse and strength, and created Wu Jian And the hard-won salvation of life. Although Zhong Menghong’s presentation of the family is different from the dramatic effect of Japanese director Hirowa Ee, who pushed moral issues to the extreme and evoked the brilliance of humanity, he also bred a stronger local cultural tenderness through the combination of light and tones, whether it was Streets or houses, traces of life can be beautifully presented. He is not stingy to make the audience a corner of the movie, and allows the audience to dig out their memories from the movie to their fullest, and finally in the last shot under the sun, let The audience and Ke Shuqin were healed by the scars of the past. Zhong Menghong's photographic signboard named Nagao Nakajima was polished by "Sunshine".
From family disharmony to family reorganization, Zhong Menghong tells life stories of various types of Taiwanese society in one breath. Not only did he not lose focus, he also accurately managed the balance of trade-offs. If there is anything to be criticized, it may be that the rhythm and style of the first half of the film are quite different, and the rest are above the standard. In fact, it should also prove that Zhong Menghong's consistent teamwork has indeed shown a rare tacit effect. In addition, Lin Shengxiang's music production has the finishing touch. In the past, he sang the humorous feeling of life for "Big Buddha Plath". In this film, there are more appearances to show, and it continues to inspire the light of human nature.
"Sunshine" has successfully found a harmonious frequency and rhythm from scheduling, actors, photography, art and music. Although it does not deserve the title of "the best film in Taiwanese film history," it is already a film in Taiwan. In the past few years, it has been one of the most rare good movies, just like Zhong Menghong's director in Taiwan.
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