The film evaluates tuya's marriage.

Wang Quanan presents the profundity of life from a three-dimensional perspective.

If a work of art can be rich in the characteristics of Mongolian long tune: sonorous and distant, soothing and free, desolate and vigorous, full of twists and turns ... then the director will grasp the characteristics of Mongolian spirit, the constant elasticity of human life and the soul of an excellent film. As a cutting-edge director among the sixth generation directors, Wang Quanan achieved this achievement with his excellent film talent.

It can be said that I watched this film with a critical heart as a Mongolian, and I knew from its name that it was a mongolia film. I don't believe that a director of Han nationality can make a good film related to Mongolians, because national works need inner spirit, but after watching it, I realized that I was wrong, totally wrong. Originally, excellent films exist across national boundaries, races and cultures, and all regional cultures are superficial carriers and coats, while director Wang Quanan pursues and expresses a real life core.

Marriage in tuya tells the story of a woman, her disabled husband and a pair of children who find her husband and remarry under the heavy burden of life. Such a simple and heavy story core was arranged by director Wang Quanan in a dynamic Mongolian environment. Suddenly, the story was full of vitality and charm. This story is too in line with the spiritual essence of Mongols. When the sad Ma Touqin sounded, when the long Mongolian tunes cut in, the original vitality of personal destiny sprang out in the desolate background of regional culture, and the film was therefore atmospheric. Director Wang Quanan's wisdom also lies in this. For this persistent pursuit of the true state of life, he used local herders to perform the role, and the role was himself. Of course, the heroine Yu Nan is an exception, and Wang Quanan needs Yu Nan to inject vitality into this film. In this way, he successfully injected fresh Mongolian blood into his films, making his films at least spiritually national.

First, overlooking the philosophical category

Overlooking the word often makes people feel disgusted, but from a philosophical point of view, it is a high degree of sobriety and a rational necessity. From The Wedding of tuya, we can see the philosophical view of Wang Quanan's film art.

Life is a strange circle. In the background music of Mongolian Wedding, two Mongolian boys are fighting. Tuya, dressed as a Mongolian bride, came running to try to separate them, but the children's beating continued. Tuya said angrily, "None of them are good things." Then he leaned over and ran into a small yurt, closed the door and cried. Will a seemingly festive wedding be the end or the beginning of life's hardships? This is an unknown and a philosophical problem. Here, Yu Nan's performance was full of tension and suddenly caught people's hearts. Sad and touching Ma Touqin came in, and sadness rose from the back of his spine. This is the opening of the movie.

At the end of the film, at the wedding, tuya's two husbands Bart and Sanger were torn while drinking. The wrestling and fighting between the two young men outside the yurt is the same as the opening film, a complete cycle and a strange circle of life. Here you can see Wang Quanan's calm eyes and his understanding of the ever-present philosophy behind life. When a new pursuit reaches its destination and seems to be complete, there will be new pursuits, new desires and new contradictions. Life is like this. This reminds me of the philosopher Schopenhauer, who said, "As long as our consciousness is full of will, as long as we indulge in various desires and the constant hopes and fears that follow, we will never get permanent happiness and peace."

Wandering between matter and spirit

Tuya, played by Yu Nan after Golden Rooster, is a kind, hardworking and heroic Mongolian woman in the film. His face is dark, his eyes are dark and bright, and he stands on his hips from time to time. He is simple, stubborn and lovely. Her husband was injured while digging a well in the water-deficient grassland. From then on, all the burdens of life fell on tuya, who was very busy inside and outside. Shortly after the film started, the director explained the story in simple film language. After grazing to save people from going home, tuya fell asleep drinking milk tea while chatting with her husband Bater. Bater said to his son, Your mother is so tired!

The lack of water in grassland and the shortage of labor force at home are all plaguing tuya's life. Suffering is the main theme of life, but tuya never complains and works all the time. Here, material and money are a need to improve the predicament. The hardships of life made Bater and his sister persuade tuya to divorce, but tuya, who was kind and affectionate, could not give up her fresh feelings in the past, nor could she choose what she actually needed: a real man and solid property. Here, there is a fierce conflict between moral and emotional spirit and material interests. Spirit is illusory, while matter is real, which are two things that any ordinary person can't live without. Tuya belongs to a spiritual person, but in the end she didn't choose her rich old classmate to propose to her. After intense emotional conflicts, she chose to continue living a hard life in Bater.

However, their optimistic neighbor Sanji and his wife, who have never been out of the field, live a materialistic life beyond the grassland. Sanjay's wife likes money and big trucks, and Sanjay doesn't think there is anything wrong with it. He believes that it is natural for men to earn money to support their families and women to spend money. But he has always been attracted by tuya, and tuya has a simple and strong external beauty and a kind and strong internal beauty, hovering between material and spiritual. Here, director Wang Quanan showed a generous tolerance, and did not make any moral judgments because of people's respective choices of material and spirit. Instead, he tells his understanding of life and love with his precise film language and looks down on this issue with his internalized philosophical vision.

Second, the head-up of human nature.

The head-up view of human nature and human feelings is the most beautiful place in this film, which is related to the director's deep civilian consciousness. He will read the beauty from the plain life, so he has been telling the fate of a heavy heroine struggling between two Mongolian men in a bleak social environment with a warm, caring and calm attitude from beginning to end. He has created a series of dramatic conflicts since childhood to explain people's complex psychology and profound humanity. What impressed me most about Marriage in tuya was its excellent story-telling, which runs counter to the current situation that China films are not very good at telling stories. Wang Dao's storytelling ability is first-class. He pays great attention to the details of every picture, the film language is fluent in place, and the story logic is interlocking, so that every detail paves the way for the emergence of emotional climax, which is exquisite and ups and downs.

The lovely actors in the film are better than each other. From the image to the voice, to the clumsy performance of nature, to the original ecological lines, people are moving everywhere. Let me feel that our Mongolian actors are really loved by everyone. Of course, I will abandon my personal emotional factors. Look at this problem, that is, director Wang Quanan's choice of roles is very precise, and he can evoke their truest memories and feelings on the spot. It is not difficult to see that Yu Nan, like his natural actors and directors, is in a relaxed state, which comes from the humanistic care under the director's head-up view.

Bater, as tuya's husband, lost the ability to live because of lack of water to dig wells. He has always loved his wife, tuya, but this kind of love has the unique affection and meaning of Mongolians. You can capture these feelings in countless details. In order to get rid of tuya's burden, he asked tuya to divorce himself and get married.

There is a scene I particularly like, that is, Bater is sitting in her arms holding their sleeping daughter Bao Le Er, and tuya is lying beside her. The picture is very warm She looked at herself in the mirror and said, "Bater, am I old? Why did six people propose today? Nobody likes me. " Bater said, "People don't like me." Tuya also said that she is over 60 years old, a teacher with three bedrooms and one living room, and will be able to teach her children to study, enter the university and get married or not? Bater pondered for a moment and said, I won't marry him. The play is bitter and touching. Yu Nan and Bater brilliantly interpreted the complex emotions and hearts of the characters, which made my heart surging as an audience. Such delicate scenes and brushstrokes can be seen everywhere in Wang Quanan's films. My heart beats again and again, like a stone falling into the water. The film is finally woven with exquisite details, and Wang Quanan's weaving of details is successful, which forms a great tension in his works.

Third, look up to the human spirit

The whole movie is full of worship of the upward spirit of human beings and looking up to the primitive vitality of human beings. What is most worth mentioning here is the director Wang Quanan's excavation and respect for women. He realized the power of women.

Tuya is a Mongolian woman with a soft figure and a strong heart. Her tenacity has always been the support of her miserable life. When Bater, who lost her ability to live, was in the welfare home, she saw that her beloved wife had really left and was going to marry a rich old classmate. That scene was really sad, and my tears couldn't stop from then on. Bater was desperate under true love, cut his wrist and committed suicide, and was saved. Tuya rushed back to the hospital and said with emotion: It is not easy to live, but who is stumped by death? And put the alcohol bottle stopper into the children's hands and die together, inspiring Bater's courage to live. Bater's sobs in his hospital bed and the cries of his family are shocking. His life is full of paradoxes, suffering and helplessness are everywhere. So such a strong woman doesn't cry easily, but she is the most touching when she cries. When her heart closed, a series of love accumulated, and Shengji's passionate and persistent love show-risked her life to drill a well in front of her house and opened it a little bit, she suddenly disappeared to find her wife who nominally abducted his truck. Tuya, full of longing for new feelings and new life, suffered a fatal blow. She took the milk tea cooked for Sanger and walked alone on the grassland in winter, with a barren background. The journey is short, but your heart hurts for a long time. Tears fell silently on tuya's face and the hearts of the audience. With such exquisite plot design by the director and such silent performance by Yu Nan, people's psychology is pushed to colorful psychological climax wave after wave. Women are great. They silently bear the burden of life and support the family and society with their own flexibility. They are the best embodiment of human vitality and the fertile soil of the nation. They are ordinary, simple and indomitable, just like a long and high-pitched song, which is fascinating. With the development of the film plot, Wang Quanan used his film language to push the strength and greatness of women into the hearts of the audience.

From these three different angles, the fullness of the film can be imagined.

From a technical point of view, I have said that the most important story in the film has received the greatest attention in Wang Quanan's film language, and he told a really good story; Sensually, German photographers' beautiful and rich photography techniques set off the strength of women under the rich background. What I still remember is the warm reddish-brown land nearby, the desolate mountains in the distance, and the full moon hanging high with maternal brilliance, which is full of symbolic significance; The most exciting thing is Mongolian music that cuts into the picture at the right time. Wang Quanan is a master, and his understanding and application of our Mongolian music is in place, which makes me extremely surprised. There are also plain, simple, true and lively lines, and we can also see the skill of screenwriters and directors. An excellent movie is a movie with exquisite details. Wang Quanan's accuracy can be seen in every shot, every note, every picture, every plot design and every actor's performance. Therefore, such a film must be beautiful and moving. He makes you cry, makes you move with the plot, and makes you deeply moved after fierce role conflicts and entanglements.

Of course, the film must have its imperfections, and Wang Quanan must have his regrets, but everything has reached a rare accuracy due to some kind of control. Director Wang Quanan himself has become an accurate old gun in my eyes, and has fulfilled his godsend movie mission. After Beautiful Fortress Besieged, he presented his mature work to the audience, that is, Marriage in tuya.