Who can analyze Gu Changwei's film style? Please, thank you.

As compensation for the amount of information in long shots, Director Gu Changwei attaches great importance to the characters and scene scheduling in the shots. The part of the younger brother in the film was greatly cut because it involved some sensitive topics now, such as his good friend being gay. Before watching this film, more than one person said that Peacock is as excellent as Sunny Day, and it can be regarded as one of the outstanding masterpieces of China films in recent ten years. But after reading it, I think this evaluation overestimates the talent of Gu Changwei's first film. Although Peacock is a good film, and even won the jury prize at this year's Berlin Film Festival, on the whole, this Excellence mostly comes from the script rather than the director's own skill-and when we examine whether a film is excellent or not, we must never abandon the audio-visual language and only pay attention to the script. Photography: The image of a classic film is closely related to the theme and artistic conception that the director wants to convey. Therefore, although Gu Changwei himself can be said to be the best photographer in China at present, in order to express the melancholy and depression of the characters, the photography techniques in Peacock are very restrained and conservative, even making people feel that they are just "maintaining the minimum consumption". Many times the movement of the lens is cautious, basically excluding all "unnecessary" action shots. Perhaps this will make people recognize the long-shot style of Hou Hsiao-hsien's films, but I personally feel that the length of a single shot cannot be the only criterion for whether a long shot is appropriate if it is not consistent in emotion and narrative. The problem with movies is that the use of these shots may bring a sense of fragmentation and jumping to the audience, because the lens has little to do with the language of the movie, and it is almost a simple transformation between scenes. As compensation for this style of lens information, director Gu Changwei attaches great importance to the characters and scene scheduling in the lens, trying to rely on these elements to make up for the monotony and dullness of the lens narrative. Whether the audience likes it or not, from a visual point of view, most of the indoor shots in this film are basically classic in composition and scheduling in the mirror. Of course, even in the eyes of the general audience, the photography of this film will definitely leave a deep impression on them, because the audience can rarely see such a transparent picture and a real and delicate texture in domestic movies. In a film with gray as the main tone, if the audience observes it carefully, they will find that the film still retains amazing levels and details, which is very rare. Therefore, although some people compare Peacock with Jia's Xiaowu and Platform, Peacock, which cost 6.5438+0.6 million RMB, still has unparalleled technical advantages in photography. The photography of this film is poplar. Gu Changwei should be the most promising candidate for the top spot in China movies in the future, when other photographers of a considerable level have turned to be directors. In Peacock, Poplar shows amazing technical level, and the poetic image conveyed by the movie screen makes the audience have to watch the movie copy in the cinema to fully appreciate and appreciate it. Although I believe that this film will be influenced by Gu Changwei in screen control, on the whole, Poplar has successfully established its own style. □ Zhang Xiaobei Editing: Every script has its own merits. Although the release version has been as long as 140 minutes, the Peacock we can see is still a relatively incomplete work. I have seen a version of Peacock, and although it will be different from the original script, it still presents a different feeling from the movie. By contrast, I believe that Gu Changwei basically made the film according to the script. Unfortunately, he may spend most of his time doing subtraction, that is, cutting out the parts he doesn't use from the script and then piecing together the parts he needs. From the point of view of editing, although movies and scripts are different in processing time and character order, it is hard to say which is better. The film pays more attention to the expression in natural time series. Although it also tells the stories of three people separately, it finally becomes one. The script is completely told according to the clues of a single character, which is more like a three-stage story with overlapping time. Specific to a single scene, Gu Changwei is obviously able to hold her breath when cutting the lens. In most scenes, there are only one or two shots. This will undoubtedly slow down the rhythm of the film, but because of the tension of the story itself, the audience will not obviously feel that the rhythm of the film has been affected. But it is certain that if such a movie is enjoyed by watching a disc, the audience with the remote control will find it much more difficult than in the cinema. There is also a cliche here, that is, the part of the younger brother in the film has been greatly deleted because it involves some sensitive topics now. In this way, the younger brother part of the film is a bit puzzling, and the motives of many behaviors cannot be reasonably explained, which makes this film the weakest link in the film. Because of the imbalance before and after, the original comfortable narrative had to stop here to sort it out, so this may also be the reason why the director adopted a different structure from the script. But one change that I personally appreciate is to move the scene where my sister meets the lover of the People's Liberation Army in the street many years later to the end of the film. In the released version, this rather shocking scene finally brought up the feeling that the lens that had to be abandoned because of time, cost and other reasons failed to convey. When the audience saw my sister sobbing silently in front of the tomato stand, we could finally feel "the evidence of hard work and impermanence, the silent and declining time that was not told" with the director and screenwriter. □ Art of other technical links in Zhang Xiaobei: It is valuable to let the injured flowers go quietly. In art, the style of Peacock obviously highlights the delicacy and truth. As the backbone photographer of the fifth generation, Gu Changwei's ability to control the picture and tone makes the film silently present an approachable aesthetic feeling of scars. Peacock shows the trivial life of an ordinary family of five from 1976 to 1984, which is also the recovery period of mankind after the catastrophe. The film always restores people's helplessness and sadness in the historical environment at that time with a faint blue, green and gray tone. It is said that in order to pursue truth, the director spared no expense to let artists shoot a real street in the 1970s. We can't see any trace of this huge project in the film, just as the artistic design of the whole film has been completely integrated into the "blandness" that the audience can't detect, which seems to be understated and unadorned, but it is this unobtrusive historical realism that reshapes the real life that can impress people the most. The artistic design of many domestic films emphasizes fancy costume modeling or weird lighting pictures, but Peacock takes a completely different path, and its lightness and slightly symbolic temperament are exactly the same as the "scar art" and "naturalism" advocated by the art circles from 1976 to 1984. This is most obvious in the first part of my sister's story. For example, when my sister is lying on the roof covered with white sheets and watching parachutes falling all over the sky, she hides on the window sill of her room and goes on a hunger strike alone after failing to recruit. Its plain composition and color composition can be described as accurate and reasonable, injecting poetry into this girl full of dreams with the rare white and blue in the film; Walking into the house, she fell into the dim light, and her ideal of cleanliness and purity was ruthlessly broken by the cruel real life. Such a design of "putting flowers flat" conveys faint pain and sadness, and can also be integrated with the implicit and heavy humanistic care of the film. □ refute the question