Not long ago at the Berlin Film Festival, "The Long Day" was finally released in China, and the film won two awards for best actress and best actor in one fell swoop, which is extremely rare at the Berlin Film Festival, which shows the recognition of the film performance by the judges. Of course, to some extent, it can also explain the shortcomings of other aspects of the film.
While the film shined on major social media, the "sixth generation" label on director Wang Xiaoshuai once again became a hot topic among movie fans.
The change of the times and the survival of small people have always been the core motif of the sixth generation's creative concerns, and "Long Days on Earth" is no exception, but this time it is more ambitious and more nuanced - director Wang Xiaoshuai tries to compose a vast epic of thirty years of reform and opening up in three hours
<h1>Three hours three-story cinema palace, who caused the tragedy? </h1>
The story spans thirty years, integrating the three major social problems of family planning, the wave of layoffs from the restructuring of state-owned enterprises, and the family that has lost independence into a turbulent and displaced family melodrama.
In the heyday of the state-owned factory, the young Liu Yaojun and Wang Liyun were both model workers in the workshop, and their small lives were like the day in the sky, and they had a very good relationship with the Shen and Li families, and even they treated each other's sons as their own children.
The times are always moving forward, there are always victims and abandoned, the film first shows us a fragmented and orphaned family, and then the timeline of retrospection desperately restores the whole texture of the happy life of an ordinary worker family in that era, when life was so happy and full of hope.
If tragedy is the destruction of good things in front of us. Then, such a retrospective treatment is a tragedy within a tragedy, because we know that the protagonist can never break free from the tragic fate of the times.
First, the second child of Yao Jun and his wife was killed under the supervision of haiyan, the director of family planning, and then Li Yun's layoff. In the end, the tragedy slipped into the gap of happiness and quietly occurred, and a children's play caused their only son, Liu Xing, to accidentally drown.
Haohao, who was traveling with him, closed his innocent mouth in fright, and the liveliness and harmony between the two families came to an abrupt end. The Yaojun couple, who lost their son, lost their jobs, and lost friends, had to leave.
But at this point in the movie, we can't help but ask, what is the cause of the whole tragedy?
The only bad guy in the film is the new one who was arrested for entering and leaving the song and dance troupe, and the film's position on the cause of the tragedy is missing and unclear.
Is this a shame to accuse the perpetrators of this tragedy of being ashamed of their lack of confidence, or is it the so-called "compassion for the people" of the so-called realm that we like to hear?
<h1>How can the pain be smoothed out? </h1>
The film's long time span makes those appropriate age-sensitive props, scenes, and music a major attraction of the movie. But these will be secretly hurt in front of Wang Jingchun's performance. There is nothing more like a Chinese middle-aged man than this Chinese character face, which is written with endless sorrow, helplessness, and tenacity. We don't seem to have seen this man smile since the dance in the ballroom.
At the highly controversial end of the movie, we finally see the old dragon bell laughing again.
It all stemmed from the fact that Haohao, who had been silent for decades, finally dared to speak, and he finally faced his responsibility for the death of the stars.
At the same time, the adopted son, who has been away from home for many years, also called Yao Jun for a reunion, and the director announced to us with a family-like ending that the family pain that had lasted for many years had finally been smoothed out.
But smoothing is not the same as healing, because smoothing only results and no process.
So we only see the pain of a battered couple whose pain is finally diluted by time, and it is not so much that the pain is erased as that they finally choose to forget.
The movie has a very interesting plot, on the plane to reunite with the Shen family many years later, the bumps of the plane caused a panic among the passengers of the plane, Yao Jun shook Li Yun's hand and let go, saying "Are we still afraid of death?" ”
Yes, what is death compared to their suffering?
Because of its meticulous restoration of the historical background of that era, because of its attention to ordinary people under the torrent of the times, and because of its natural and comfortable film skills, it is undoubtedly a moving and rare masterpiece. However, as a representative of the sixth generation, it not only has a unique perspective of the times, but also should give its own answers to the issues that the film pays attention to.
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Author: Fifty meters deep blue