How to evaluate the movie Buckwheat Grows Wild?

In the whole movie, Elaine Zhong is always beautiful, Sandra seems to have a vague soul, Johnny has no theme, the intersection of three stories and the lack of real roar of fate. These are the problems of the movie. A debut director is always ambitious. He wants to spread the madness of the three protagonists, but also wants the fate of the three protagonists to cross-cut the madness at the end of a century. However, Qiao, Mai and Feng all have primitive and ordinary motives. This universal motive can't support the long logic of black narrative, and there is a shower of Psycho, but there is no energy swelling. There is a small gang of "Blue Velvet", but it lacks a grotesque context. Wheat and buckwheat are too beautiful in the face of dirty raids. The director's immaturity is that he has never had real authority over the idol drama stars, orson welles can destroy rita hayworth, and Xu Zhanxiong can't do it with his stars, so overall, the supporting role is better.

In this sense, I agree with the Internet's complaints about this movie. We went for the moonlight on Tanabata, but you only gave me a basin of water under the moonlight. Just like at the beginning, we went for a sex scene and only saw a bed. However, when the movie comes to 22, as an audience, we should also understand the bed play with only a bed and read the love without love. Just like 8 or 9 years ago, subject to censorship, Liu Bieqian never filmed sex scenes. He only filmed wrinkled sofas and imprinted chairs. Of course, the bed and sofa this time are another logical development.

there are three people in buckwheat wind, and the red, yellow and green lights at the intersection of the century. When Yunqiao and her boyfriend set off from Cizhen for Haicheng, the big clock that had been stagnant in their hometown for many years suddenly moved forward, but immediately stopped. Her fate is also a metaphor in this case. The director didn't explain what Yunqiao experienced after her boyfriend died, but when she reappeared, there was not much difference between the bus and the streets in the night, Haicheng and Cizhen. It's like connecting with the underworld in Wufeng, Cizhen and Haicheng, and communicating with literary and non-literary groups in the two places through Li Mai. Qiao, Mai and Feng are all individualists and ghosts of the last century, but it is these individualists who paved the thoroughfare between the centuries with their flesh and dug a tunnel connecting small towns with big cities. Although Yun Qiao's story is not touching enough, we don't feel particularly sad when we witness the car accidents of buckwheat, because we have seen 1, car accidents on the screen and experienced 1 million times of love, but Qiao and Mai Hefeng are new emotional forms. This form is not a man and a woman, or a man and a woman. This is the entanglement between each of us and this era. We throw our tears, blood and bodies on the wall of the twentieth century. We are also the red and white roses and blue and green moonlight of the last century, and all the work of Zhan Xiong is to shake the twenty-first century: look at me and don't forget what we have paid to get here today.