Film Review of Chencang is Winter

Chencang is a review of winter (1): Chencang is winter.

Not long ago, I sent out a feeling that "the endless stream of new movies is reflected in quantity, but it has lost quality." I don't feel anything from these products, which is undoubtedly annoying. " Accustomed to the tireless search for ancient movies, enjoying the surprise of never getting tired of watching them and leaving a aftertaste. The characters, stories, scenery and music in old movies are soaked in the old days. Everything is so old, so real, so beautiful. "

Winter in Chencang is a movie that I can feel quietly. Whether it is old photos, dialects or streets shrouded in dim colors, its authenticity makes people forget to chase high-end gorgeous pictures, and there is no need to paralyze the pain of life with glamorous movie plots.

The background music in the film also has a sense of narration, which allows you to open the door to memory. Many families seem to have a role similar to that of the father in the film. His persistence makes his family hard up, and his character is tough and soft-hearted. And that old man who hates iron not to produce seems to be our grandmother. She will pay silently and shed tears secretly. Isn't that fragile and strong young man ourselves? I have never noticed it before. It turns out that the column on TV is the background music of life. Suddenly, I found that the pull of time and humanity has always been there, and we still have to continue to interpret our lives.

The movie has been playing, and the family seems to be talking and walking around, so familiar and close. I think this comfort makes people forget the judgment of the film and naturally enters your heart. Until the end, the dust settled, and you were a little depressed and sad. Think about it, this is life. Then this is a good movie.

Reflection on "Chen Cang is Winter" (2): All beings are suffering, where can they live?

The second time I watched "Chen Cang is Winter", the impact was far greater than the feeling after reading it for the first time.

First of all, I saw it for the first time at the home of Master, the director of this film, and the viewing equipment was first-class.

When watching it, he said that he would become an audience instead of a director or a teacher, so he would not communicate.

I was very surprised when the film ended. At that time, I studied several movie master, and I was very excited to see their shadows in the movies.

On the other hand, I also lament that it is so natural and plain that there is no grotesque imitation, so there is nothing wrong with mixing it together.

I'll mention it a little here, but I don't focus on it.

He almost followed Xu Anhua (according to the content of the film), Kiesh Lovsky (with occasional light and shadow, and the sound of running water), Kusturica (at the end of the waterfall, the water pipe connecting the sky, the resurrected grandmother, and the hatched chickens), An Zhe (photography) and Wong Kar-wai (only music).

I was really surprised at that time because he paid tribute to almost all the directors he loved deeply. And there is no sense of peacekeeping. Although full of master's shadow, he still has a unique style of restlessness and contradiction in peace, which is consistent in his films. It's amazing.

At that time, I asked him if he used the principle of resolving contradictions like Xu Anhua's "Day and Night Surrounded by Water". He said that only a small part was used, which showed that there was no contradiction in his story.

At that time, I didn't quite understand how there was no contradiction.

Say it again.

Read more and understand deeper meaning.

Until grandma died. What worries me is that everyone is pursuing what they want. I even thought that this is the connotation of the film. Yes, not all of them.

Let's talk about the newly discovered relationship between the three.

Probably, the son is dissatisfied with his father, the grandmother is dissatisfied with his father, and the father is dissatisfied with his grandmother. The three men pointed their spears at each other and protected each other with shields.

For example, although the son was angry with his father and was laughed at after learning that he was injured, he secretly picked up a bat and vented his anger on his father. There is also a grandmother who is not satisfied with her father's dog, but still helps her father buy dog food everywhere. After father scolded grandma, he sent the hen away again.

Only here did I realize that the original contradiction was hidden here. As a result, there is no contradiction in the story, but it is still driven by the characters.

That's great. Moreover, the contradiction between the displayed characters is so real. In fact, we get along with our families more or less in this way.

I also noticed that the poem recited by Jia Bin was carefully chosen. This is almost his own realism. Especially, poor thing, you ridiculous thing is doomed to be strange and unfortunate.

Then I found that none of them got what they wanted.

It wasn't until grandma died that the camera stayed on grandma's portrait and then swept the Buddha statues in the whole temple that I suddenly realized.

So this is the connotation of this film.

It is the eight bitterness of Buddhism.

Grandma's old bitterness, birth and death are bitter, the love of her husband's departure is bitter, and the humiliation of her grandson will be bitter.

There is also a father, a resentful meeting from his son, and a son who faces his ideal.

The flourishing bitterness of the five yin is the cause of pain, so I don't want to mention it.

After grandma died, Jia Bin had a fight with her eldest brother, and my father stood watching from a distance. Then he went to a tree and lit a string of firecrackers. Then the camera turned to Chen Cang and Brahma kept chanting. The story ends here.

In fact, this shot, like the scene at the beginning, is a looming Chen Cang in the fog. Originally, I didn't understand the meaning of firecrackers, but when grandma died, she was accompanied by scenes like chanting. I extended the symbol of firecrackers to a reincarnation.

The story begins with an ordinary family in Chencang, and the story about the eight hardships of life ends in Chencang. I think there should be a saying that life is bitter and all beings are bitter, and then there is another story about eight sufferings.

It makes people feel desperate to think so, and life is suffering constantly, which is too pessimistic.

But the story is over, and the movie is not over.

In fact, only seven kinds of sufferings are described in the story. There is still one bitterness left-life.

If the story ends, we will think that life is full of pain. How can we live with it?

The director brought us the answer with magical realism.

At the end of the film, grandma, Jia Bin and dad are beside a waterfall. Grandma is holding a newborn chicken. Jia Binsheng caught fire and asked his father to turn up the water in the waterfall.

Father said, where does the waterfall come from this season? Ok, I'll try to turn it up a little bit. Then I went to the waterfall and turned on the water pipe, which sprayed water. The camera moved to the source of the water pipe and hung high in the air.

We all know that grandma is gone, how can the water in the waterfall flow in winter and how can the water pipe pump water out of thin air? But it's already winter in Chencang. How can chicks hatch?

The film's names are "Chencang is winter" and "The place where it was born". Ask and answer.

Life is bitter. Then why were you born to suffer?

Because those hardships are given by life, and life is to give you what you don't want, so you pursue what you want.

This is fun and meaning. For example, in the poem, the sky laughed at Jia Bin's escape from the cage, and he was black and blue, leaving only a dry spot in front of him, and he can still see it now, laughing at the waterfall in the sky from there, taking water and increasing the flow.

Winter in Chencang. Where was the chicken born?

Stop asking, ask yourself where the fire started.