Which domestic movies moved you?

There is a very important picture in Zhong Kui Enchanting the Demon: The Spirit of the Snow Demon, that is, from top to bottom, heaven, earth and the demon world appear in turn, and the space is separated by black out and black in. This is the most important scene introduction at the front end of the film. Of course, such a picture is presented because of superb computer stunts. However, such a picture is not original in this film, because in ancient China, Taoism or Buddhism. It is said that this top-down understanding of the world is unique to China, and there is also evidence that the Hobbit 3, a popular film in the same period, from The Lord of the Rings to the Hobbit, New Zealand director Peter Jackson, with his Hollywood team, spent a lot of money to describe a world of immortals, humans and demons in the eyes of Westerners, although the film also showed demons (such as orcs and various demons) staying in dark underground caves with strong visual effects. We saw Zhong Kui in the movie. Thanks to the SHEN WOO energy endowed by the immortal Zhang Daoxian, we can identify men and women possessed by demons in the world, and we can freely shuttle between the world and the underworld. But he is not the Monkey King, the Great Sage of the Monkey in the Journey to the West, because the Monkey King was a monster in those days, but he also lived on the Huaguo Mountain on earth, in fact, in parallel time and space with the Taoist priest of the Tang Dynasty.

That's why I came to the conclusion that the world in Zhong Kui Mo: The Snow Demon Spirit has both the blood of China traditional myth and obvious class shadow. The whole world is divided into three strict grades, and the relationship between grades (space) is full of struggle or salvation or destruction. In short, they can't be calm and get along on the flat ground.

Emotions in movies, such as Zhong Kui (Chen Kun) and Snow Devil (Li Bingbing), Zhang Daoxian (Zhao Wenxuan) and Zhong Kui, Snow Devil and Yi Hui, Zhong Ling and Du Ping, are basically regarded as stories of the triple world of heaven, man and demon derived from maintaining class nature, making it more vivid and emotional-note that the reason why I say this movie is extremely modern. They are always irreconcilable, confusing, intolerant and indelible. Although Zhong Kui, who lives in it, has an innate ability and a mission to subdue demons, his "role" only makes this solidified triple world more solidified. Even at the end of the movie story, the hypocritical Zhang Daoxian was driven away by the so-called force of justice, and Zhong Kui, with great energy, just did a merit and maintained the image of heaven. But, anyway, Zhong Kui is a hero, and he must be a hero.

I say "and he must be a hero" in such a reluctant tone, in fact, I want to show that there is an obvious "non-hero" Zhong Kui tendency in the creative consciousness and image subject of the film creator. They not only want to "non-heroize" Zhong Kui, but also want to give a set of solutions to the tendency of "non-heroization", that is, a set of super conspiracy theories to structure the film and shape these images.

The audience should feel the deepest about this super conspiracy theory is Zhang Daoxian, who is the most suitable person to be described as "hypocritical". He has an excellent background of the immortal class, but he is not willing to be dark and wild outside ordinary people. He is the greediest one in the movie. He used all the energy and skills God gave him to turn Zhong Kui, a good man in heaven and earth, into a murderous demon. He is good at "hypnotizing all living things on earth"