Yan'er is a stubborn person, and her stubbornness persevers from beginning to end.

From the very beginning, Yan'er was hostile to Song Lian, who became the fourth aunt, because she felt that it was Song Lian who robbed her of the opportunity to be her aunt's wife and become the master of the Chen Mansion.

Therefore, Song Lian has always had a change of mentality from beginning to end, but Yan'er has not.

Therefore, even if Song Lian repeatedly showed favor and let her go, she was as always with the same posture and mentality towards Song Lian.

This also directly led to the final tragic ending of Yan'er, who was dealt with by the eldest wife in the family law, kneeling in the ice and snow, but never thought that he was at fault, so he was hurt and finally died.

Why is Yan'er so obsessed with being the concubine of a half-hundred-year-old man?

Because the feudal ideology was deeply rooted in her bone marrow, unlike Song Lian, she had no education and could not read a single word, let alone a new type of education that advocated equality and democracy.

She was born and grew up in the mansion, and the Chen family's mansion is the whole world for her. Becoming an aunt is her only pursuit in life.

For example, a child who has been instilled with the knowledge that apples are the only fruit in the world since childhood, and has only seen apples since childhood, will know that there are many other fruits in the world, and will naturally not know that he is actually born with the right to choose.

Yan'er's sadness is that she never knew, and would never want to, know what the world outside the Chen family mansion was like.

Therefore, she stubbornly knelt in the snow, and kept kneeling at night, soaking wet, and she didn't admit her mistake.

Perhaps in Yan'er's eyes at this time, Song Lian ripped off the biggest fig leaf on her body, and she had become the laughing stock of other subordinates.

If you admit your mistakes, then you will never be able to raise your head in the compound in the future.

At this time, the only thing that can support her to raise her head and support her last stubbornness is the dream of being an aunt's wife.

So, how could she admit her mistake?

When Qiao Feng watched the movie in later generations, he felt that this scene was a great indictment of feudal thoughts, and looked at what kind of people were imprisoned and harmed.

When he saw Kong Lin kneeling in the snow and filming at night, Qiao Feng's feeling was even stronger.

She felt that such geese were like moths to the fire, and they wanted to jump into the abyss of feudalism without hesitation, and they became victims of the old society without hesitation.

"What does Director Hou think of Kong Lin's performance?" Qiao Feng, who was standing behind the monitor, turned his head and asked a middle-aged man with a round head beside him.

"It's a good acting, and it's really good to have such acting skills at such an age." Director Hou recognized Kong Lin's performance very much.

Qiao Feng also nodded, he thought so too, and even, he felt that Kong Lin at this time was really not worse than Gong Li when he starred in Red Sorghum.

Of course, Gong Li at that time was younger than Kong Lin at this time, so in general, Gong Li was still powerful.

But at this age, I can compare my acting skills with Gong Li, and it is really amazing.

Maybe it was Qiao Feng's words that aroused Director Hou's addiction to discussing movies, or maybe he wanted to take the opportunity to get close to Qiao Feng, after all, Director Hou's movies have always been difficult to find investors.

Anyway, the waiter is open to the conversation.

"The actor is good, but I think the director is even better.

Hou Daoming has a lot to talk about, Qiao Feng is naturally not good to ignore it, that is too rude, after all, Hou Dao is an international director Hou Xiaoxian.

Moreover, the director is also the producer of the partner Qiu Fusheng faction in the crew, so he can't help but give face to the partner.

But if you want to talk to Director Hou about movies, then Qiao Feng can't deal with it casually, because this artistic attainment in movies is one of the few in the Chinese music world.

If you want to talk to people at one level, it will be too low.

Fortunately, after wearing it for so many years, he has been mixed in the film industry, whether it is a commercial film or a literary film, he has made a lot of films, and Qiao Feng is no longer the original Qiao Feng.

I can still talk to Hou Dadao.

Director Hou admired Lao Mouzi so much that Qiao Feng didn't expect it, after all, they all said that peers were enemies.

However, Lao Mouzi is also right about the praise of the director, although it is not as perfect as the director said, but the red lantern hanging high is indeed very good.

Director Hou has only participated in more than half of the filming throughout the whole process, and he has not yet seen the finished film, but he can see that this scene is well filmed only through his own experience.

Qiao Feng has seen the finished film, and more than once, so he naturally knows better about the red lantern.

"Yes." Qiao Feng nodded and said: "I watched it for a day, and I found that the symmetrical and in-depth composition used by Director Zhang is really very appropriate. This composition shows a strong sense of three-dimensionality, space and hierarchy in the Chen Mansion Courtyard, creating a depressing and terrifying, deep boudoir courtyard-like mysterious atmosphere.

"That's right, Yi Mou is worthy of being a photographer, and he is really good at composition. The red cheongsam symbolizes publicity, blue symbolizes the environment, the courtyard is blue after dark, the unbearable late night is blue, the orderly rules are blue, and the blue is all the oppression. The distorted soul under the suppression of feudal society is black.

Qiao Feng and Hou Xiaoxian talked a lot, from composition, to color, to various symbols, such as lighting the lamp, sealing the lamp, such as hammering feet, ordering food, and then such as the woman inside.

More often than not, Hou Xiaoxian is talking, because Qiao Feng can't show that he knows more about this movie than Hou Xiaoxian.

That's hell, even if Gong Li told him, he couldn't explain it clearly.

Therefore, Qiao Feng only chose some things that he had read today, or he analyzed Lao Mouzi's thoughts after Hou Xiaoxian talked about it.

For example, why do you never give Master Chen a face-up shot, why are the elderly women in the courtyard all thin and thin with a zombie face, and why are some of the men angry.

Because just like the male and female owners in the courtyard, in the subordinate group, men also have more rights than women.

So it won't be as much dead as an old woman.

At the end of the conversation, after listening to the analysis of Hou Xiaoxian, who is also a director of literary films, Qiao Feng was even more convinced that the red lantern hanging high was absolutely and absolutely different from Zhang Yimou's other works.

Because this film can see almost all the old plots, whether it is the yellow earth and countryside that take him to the world, or the suppressed sexuality and desire of feudal women who can give him the most space to excavate, or the invincible use of color that makes him invincible after transforming into a commercial film, they are all extremely displayed in this film, and they are unprecedentedly reconciled under the same theme and shine.

But it's hard to see such a thorough symbolism in his other works: every frame and every shot is carefully designed, every line and every lyric has a voice-over, and through a story that only makes sense in an enclosed space, it finally completes the enlargement and deepening of the symbolic meaning in "The Red Lantern Hangs High".

It's really as wonderful as a textbook, and it's as alienating as a textbook.

Or how can he be a national teacher?