The Dziga-Vertov group is the founder of the famous Soviet montage theory of the "cinematic eye school", he emphasized the use of snapshots to capture fragments of life, and actively advocated the use of sound and picture montage to innovate film. As the patriarch of documentary aesthetics, his film "The Man with the Camera" ranked eighth in the 2012 "Sight and Sound" selection. His theories had a profound influence on both the later French New Wave and the Italian Neorealist movement. Godard was a great admirer of Vertov and formed the famous "Djiga-Vertov Group" in the 60s.

The theory of cinematic eyes is simply to treat the camera as a human eye, and "Scorching Sun" has a large number of subjective shots, and also adopts the concept of traveling in Chinese painting, all of which use the lens as an eye. Zhang Ran felt that Godard, as an admirer of Vertov, probably admired this the most.

Godard laughed after hearing this: "Forget a little bit about the cinematic eye theory, what I really appreciate is that I have seen real Chinese films." I don't watch many movies in Chinese mainland, Taiwan and Xiangjiang, but the movies I have seen give me the general impression that they make American movies with Chinese style or European movies with Chinese style, and the film language is completely European or American, and there is nothing of their own. But in Sunburn, I saw something that European and American films didn't. ”

Speaking of this, he looked at Zhang and said with a little puzzlement: "I have a curiosity, you have a lot of places to simulate your eyes throughout the movie, but in the long shot in front of the movie, the camera movement is always moving in parallel, why do you deal with it like this?"

Zhang Ran explained with a smile: "Chinese paintings are particularly long, with banners and vertical banners. It is impossible to read all the content at once, you can only slowly see from the left to the right, from the top to the bottom, and when you look at the painting, you have to walk to look, which is called Youguan. The opening scene of "Scorching Sun" is handled according to this concept. There's a strong sense of immersion in this way, because the camera simulates the eyes, but at the same time there's a sense of alienation, because you're looking at the world in the way you look at a painting. I hope that the audience will enter the situation from the beginning of the movie, but I don't want the audience to be completely trapped, I hope they can stay calm, and I hope that the audience will slowly enter the movie as the movie progresses, and slowly enter the heart of the ancestors. ”

Godard bowed slightly: "Dongying people like to sit on the ground, and director Dongying invented the low camera, and you use Chinese painting in the film, with scroll shots and traveling hair, which is a pioneering achievement." There are many countries and nations in this world, each with its own culture and traditions, and movies can draw nourishment from their own culture and traditions. Therefore, I have never understood why I have a rich cultural tradition, so why do I study from Europe and the United States with all my strength?"

Zhang Ran remembered that Picasso had said something similar, when Zhang Daqian visited Picasso in Paris. During the conversation, Picasso said that in Europe and the United States, I can't see art, but in China there is real art. What I don't understand the most is why do you Chinese come to Paris to study art?

Zhang Ran chuckled and said: "Film is not like other arts, each country and nation has its own traditions and artistic concepts. Cinema is a foreign product, and the grammatical foundations of cinema were laid by Americans and Europeans. There's no other option for us, it's like if you go out and play tennis, you can't say I use a different set of rules. We can only learn from other people's advanced places, eat these things thoroughly, and then integrate our own things. ”

Zhang Ran exhaled and said, "You have fought bourgeois movies all your life, invented jump cuts, and rewrote film history. But you haven't really been able to subvert the foundation of the movie, and the basic grammar of the movie has not changed. ”

Godard was silent, he really did not have the basis to subvert the language of cinema, no matter how he changed and explored, his films were still inseparable from the most basic things such as long-range, medium-shot, and close-up.

Zhang Ran looked at Godard and said slowly: "It is very difficult to really get rid of the existing film grammar, but it is not impossible!"

Godard was stunned when he heard this, and said with a little doubt: "Do you mean 3D movies? 3D movies are indeed different from 2D movies, 2D movies only have x-axis and y-axis, 3D movies are three-dimensional, and there are more z-axis, so the grammar of 3D movies is somewhat different from the grammar of 2D movies." But 3D movies don't really break out of the existing movie grammar!"

Zhang Ran said with a smile: "Although 3D movies have more Z-axis, they do not depart from the existing grammatical foundation. No matter how it changes, 3D movies are just a branch of cinema, not a new kind of cinema. A film that can subvert the existing film language must be a completely new movie!"

Godard wondered, "What are you talking about in the new film?"

Zhang Ran laughed like a fox: "VR movie." Seeing Godard's dazed face, Zhang Ran briefly introduced what VR is, and continued: "In VR, the existing cinematic language is basically invalid, there is no scene, and no editing can be done. But VR movies are the closest to reality, and the shots are really simulating human eyes. Because we see things with our eyes, the picture we see is coherent in itself, and the film has a natural high degree of immersion, which can really bring people into the world of the movie. In a way, VR movies will be the ultimate form of expression for movies. ”

Godard frowned: "VR is closer to the real state than ordinary films, but it can't be edited, it can only be shot with long shots, and it can't be switched between time and space, so how can it be narrated?"

Zhang Ran stared at Godard and said slowly: "Now VR is just like when movies were just born, they can only shoot long shots, and there is no suitable film language. However, it is precisely because it cannot be edited and the original film language cannot be used that it is possible to create a new film language and become a new film that is different from the existing films!" Zhang Ran said with a smile: "I don't know if you are interested in making VR movies? If you are interested, I can provide you with 10 million US dollars, and provide equipment and corresponding staff." There are no restrictions on the subject matter, and you can shoot whatever you want. ”

Godard's films are obscure and largely gross-free. Godard also knew this, so his films were very cheap. In this way, you will not lose money and you can continue to make movies. Now when I hear Zhang Ran open his mouth is 10 million US dollars, there is no limit to the subject matter, and I can shoot whatever I want, I am very emotional, it is good to have money!

Godard has been making experimental films all these years, experimenting with various cinematic languages. Since Zhang Ran was willing to provide funds for him to try VR movies, how could he be unwilling, and immediately nodded: "I am very willing to try." ”

Zhang Ran grinned, feeling like a big bad wolf who coaxed the lamb to open the door.

At half past seven in the morning, Zhang Ran came to the restaurant on the second floor of the hotel. Li Xuejian was eating in the restaurant, but Wang Luodan was not there.

Zhang Ran walked over and sat down opposite Li Xuejian. After ordering breakfast, he looked at Li Xuejian and said, "Yesterday's press conference was okay?" Li Xuejian nodded and said: "The response is very good, everyone likes this movie very much." Zhang Ran nodded and said, "Thank you for your hard work." Why isn't Dandan here, this girl hasn't gotten up yet, is it? It's really getting more and more scattered!"

"Teacher Zhang, it's not good to speak ill of people behind your back!" Wang Luodan's voice came from behind him. She pulled out a chair, sat down opposite Zhang Ran, and then put a magazine in front of Zhang Ran, and said with a smile, "I'm going to get the house book." Mr. Zhang, do you guess how much the house book gave "Scorching Sun" a score?"

Zhang Ran ignored Wang Luodan, opened the official house program of the film festival, and quickly browsed it. Yesterday, there were two premieres of films in the main competition unit, one was "The Second Window" directed by Toei Naomi Kawase, and the other was Zhang Ran's "Scorching Sun".

Naomi Kawase is a Cannes-based director, known as Cannes's own daughter, and her films can be shortlisted for the official Cannes unit as long as they are made. However, film critics did not have a high evaluation of "The Second Window", and the house magazine score was only 2 points.

Seven of the nine critics gave the highest 4 stars, and the remaining two also gave 3 stars, with an average score of 3.8, setting a new record for the Cannes Film Festival's house book score.

Seeing this score, Zhang Ran smiled, it seems that everyone really likes this movie. He flipped through the house book to see what film critics had to say about "The Scorching Sun."

Michel Simon, editor-in-chief of "Feature Film" magazine and French film critic, gave "The Scorching Sun" four stars: "Zhang Ran's "Scorching Sun" is a work that is eye-catching among the films screened in the main competition unit of this year's Cannes Film Festival. Of course, this is to be expected, because Zhang Ran is one of the best filmmakers in the world today, and he has integrated his reflections on human society and film art into the artistic epic he has created. This drama film as smooth as Black Panther not only allows us to see a breathtaking performance, but also is full of originality and innovation that is more important than anything else, and the use of subjective lenses in the whole film has reached an unprecedented height, especially the subjective long shot of more than 20 minutes before the death of the ancestor can simply make people out of the body. "Scorching Sun" is the craziest film experience of this year's film festival!"

Los Angeles Times film critic Glenn Hewlett-Packard also gave four stars: "As one of the greatest directors of our time, Zhang Ran's return is a pleasant surprise. "The Scorching Sun" is a shocking work, and the story of the film is somewhat like Hemingway's "The Old Man and the Sea", but it is fuller in detail than "The Old Man and the Sea", richer in connotation, and full of metaphysical thinking. The story takes place in China, but the film reveals the common destiny of mankind. If I could shut myself up in a small room and watch "The Sun" over and over again until the end of the Cannes Film Festival, I would be willing. ”

Brazilian film critic José Carlos gave "The Scorching Sun" three stars: "Everyone has high hopes for Zhang Ran, whether it is industry insiders or ordinary fans, they are very optimistic about Zhang Ran's new work." "The Scorching Sun" is indeed a shocking work, exciting, full of creativity, and excellent in every way, but too many subjective shots are suspected of being too showy, and the film itself is 3D, coupled with a lot of shaky subjective shots, can bring severe vertigo and cause viewing obstacles. ”

The response from the media and film critics was very good, which undoubtedly made a good start for the promotion and release of "Sun Scorching". Zhang Ran put down the house book with satisfaction and ate breakfast with a smile on his face.

Seeing Zhang Ran's face full of smiles, Wang Luodan said with a smile: "Mr. Zhang, when I went to get the house catalogue just now, I met a reporter who told me that if the Palme d'Or didn't give "The Scorching Sun", the chairman of the jury, Jane Campion, would be discredited. ”

Zhang Ran shrugged his shoulders and said disapprerovingly: "The house magazine and the jury are two completely different evaluation systems, in the three major film festivals, it is not easy to get the highest award for the highest score in the house magazine, and it is about to become a curse." Wong Kar-wai's "In the Mood for Love" and "2046" were both No. 1 in Cannes, and both missed out on the awards. "One Man Puts on the Lights" received a high score of 3.9 in Berlin and did not win the Golden Bear. Winning the award really depends on luck, don't think too much, keep a normal heart!"

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