Walking into the Light and Exploring Creativity —— Essay on Chongqing Youth Film Festival

I have a good relationship with Chongqing. My good brothers and like-minded friends I haven't seen for many years, as well as a youth film festival with spiritual treasures, have contributed to my return visit seven years later.

Watching the film festival is really a very interesting experience. From 4 pm to 7 pm every day, it is not so much that you can freely choose the works you want to see, but rather that you choose which dimension door to enter to spy on the light in the creator's heart.

65438+1October 2 1 short film group a

Perhaps as the pre-heating stage of the film festival short film unit, the conference selected three documentary short films of students' works as the first phalanx. The first group of viewing shots in the film festival originated from walking, messy streets, shaking images and disorderly editing. The brain's reaction is that this work is too amateur and academic, and its image impression is relatively low. As the characters enter the picture one by one, the heart slowly enters the context of this Xinqiao village in Chongqing. Every day, for the daughter whose mother is seriously ill and anxious, I try my best to find strangers who voluntarily donate special blood types. Young migrant workers who live alone in the corner of the factory are telling their helplessness and sadness in the narrow and boring living space; Unfortunately, Deng Fei, a young man suffering from uremia, was physically and mentally destroyed. His diary, which was teased by fate, left him almost no chance to be seen and became the most unforgettable soul poem in my heart. It's all at the bottom, without the director's lens. Like the dust in the world, they will never be seen. The film only spreads the bitterness of life in the heart in a casual lens context. Brother Chang's monologue after climbing to the top of the mountain, "I believe there must be another me in another parallel world", "I just can't find the direction and get used to it. Love is not what I imagined when I was young. I just feel that there is nothing wrong with living alone. "I don't want to live in poverty, and many students around me borrow money because of their children." The stubbornness in the discourse reveals the compromise of fate; Deng Fei, who has returned from the Death Gate twice, once loved dancing, and his friends around him also liked to watch him dance. Ever since I got uremia, like a bird with a broken wing, the pain of dialysis is like the shackles of a prison. He can't sleep every night and can't walk every day. Facing the camera calmly, he seemed to want to reach a settlement with fate, but fate never agreed. At the end of the film, the director excerpted the diary he agreed to make public, and I realized that Deng Fei was already a poet. "I just hope my family can be healthy and happy. If there must be pain, let me bear everything for them. " I'm worried. Why is there poetry when there is pain? Why is a sad poem a good poem? The poet at the bottom turned out to be a fallen meteor that we didn't notice. It flashed in an instant, and most people couldn't see it.

This work is like a cup of bitter buckwheat tea that has been put for a long time. The first bite is as plain as water. You need to gently shake the tea at the bottom of the cup to taste the bitterness of life. May this fledgling female directors Liu bring us more outstanding works worth remembering.

65438+23 October short film group f

The short film unit has also officially entered the stage of drama screening, and it is very lucky to choose Group F to watch movies. Three articles, Dog Life, 1402 and Three Feet, show high creative quality. "Dog Life" is a genre film similar to Cao Baoping's style in terms of painting style and story plot, which tells a simple story of a bottom-level mother paying for her child's tuition. The script is complete and the child actors are slightly inferior, which still shows the potential of directing more powerful genre films. "1402", the photography is quite amazing. Being in Chongqing, the vagueness, charm and punk shown by the photographer in the first few minutes are quite successful, as if they were completely captured by photography for the first time. But as the story unfolds, it seems that the construction of the story is relatively loose, and the plot is eclipsed by his photography. Only after the director shared it did he know that the title number was the house number of his university dormitory. The creation of this short film is also to express some feelings in college, which is more prose-like, so after a while, when I beat the word memory, some content has been lost, and only scattered shots float in my mind.

As the winner of the final best short film award, "Three Feet" has to be said to be the biggest gain of this film. A very personal story, presented in an unprecedented manner. The 50-minute performance of this film is restrained and exciting. It is obvious that the water has been boiled, but it still looks calm. This is a wonderful viewing experience. The story is what happened at home after he commemorated his dead grandfather. Clever way to let the audience substitute a subtle perspective. We try to use memories to make an immature framework for the story: in the first scene, the dialogue between grandparents gradually becomes clear, grandpa's younger brother wants to come to the house as a guest, and grandpa insists. At this time, the audience's understanding is an explanation of ordinary family relations; Act II: The mother takes her son out (when the director was a child), and the rhythm is accelerated. She took grandma to the room and asked her grandpa strangely. Only then did the audience realize from the conversation that her grandfather had passed away. The grandfather in the picture just now is actually a soul. The conversation continues. It turned out that her grandmother had always kept one thing from her grandfather, that is, her brothers had died before him, and she couldn't bear to tell her wife. At the same time, her grandfather interacted closely with his grandson who came back. At this time, my mood is very complicated. The spiritual shaping from this family is mixed with complex emotions. It is extremely fearful and gentle, and a plate of calm water has quietly boiled. In the third act, the mother accepted the fact that her grandfather's soul was still at home, summoned up the courage to go out and face his grandfather's soul, and had another warm conversation, confessing her negligence as a strong woman to take care of the elderly in the family, as if in this conversation, her daughter revealed her true self to her father, and his father's soul chose consideration. In the fourth act, grandpa insisted on going out to pick up his brother in person, and the family finally decided to listen to grandpa and take the bus. The director's technique is too clever. It can be said that it is perfect to use the low-priced bus that best conforms to the tonality of the story as the last scene, and the climax and ending of the whole story are almost seamless. When getting on the bus, the passengers were crowded, grandma whispered to grandpa in the back row, grandpa nodded calmly, the bus arrived at the station, the passengers got off, the space inside the car gradually became empty, and grandpa disappeared. The car continued to drive away, and grandma, mother and grandson sat quietly in the car, ending. Very clever and restrained technique, coupled with the joining of powerful female No.1 Dong Qing, the best short film of this work is well-deserved. The characters, space, details and script structure are novel and refined, which is really worth learning and pondering. I really look forward to brushing it again.

65438+100 on October 24th

The only feature film in Akita this time comes from Zhou Lidong's debut, which tells the inner waves of middle-aged men in a dull life. I admire the director for abandoning business and directing and acting. The work itself is not amazing, but many details are intriguing. A seemingly insignificant little puzzle set at the beginning calmly throws an answer at the end of the film, but tells the central theme of the whole film. This detail is that he was suddenly hit by an unknown object outside the window when he was working overtime in the protagonist's office at night. He thinks this is a big bird. He is engaged in mechanical engineering and designed one. However, it was not until the last shot of the film that this detail was echoed. In fact, it was just the sound of an outdoor cleaner hanging outside the window to clean and touch the window. The director didn't give any extra shots, so it ended. Yes, when people reach middle age, they like to be at least a big bird, a big bird with only a foothold, rather than a big bird that stumbles everywhere, but the reality is that such a big bird does not exist, but it is just a reality void of self-hypnosis. The creativity of this detail can really enhance the connotation of the film. But how many people can really get it? I really hope Akita can meet the public on the big screen. However, the niche of the theme may also be doomed that this debut is also a big bird in the director's imagination.