After filming the day's scenes, everyone returned to the city. Pen, fun, and www.biquge.info

Lin Zixuan contacted the local movie theater, and they played a 20-minute episode of "Spring in a Small Town" in the screening room of a theater to see how the actual result was.

The main thing is to let Mark Mueller intuitively feel the film, which is related to his evaluation of the film.

This clip is a story that takes place in the house, from the first time the three of them met several times when the heroine and her lover were almost broken, most of them are inner dramas.

The three of them carefully maintained the status quo, and no one had the courage to break this atmosphere of apparent tranquility.

The heroine and her lover talk about the life of the past, nostalgia and emotion, and occasionally expectations for the future.

However, every time I talk about it, I want to say it and stop, there are few direct expressions, and there are more inner struggles.

Several actors portray the Oriental people's subtlety and restraint of feelings just right.

A movement, a sigh, a casual look back, the whole emotion is expressed.

This is indeed a film that relies on actors' performances, and from the current point of view, the three leading actors have done a good job, and Zhang Guoli and Xu Jinglei have also played more excitingly.

After watching the film, everyone returned to the hotel for an exchange.

All of them are well-known figures in the Chinese film industry, including directors, actors and behind-the-scenes staff, talking not only about "Spring in a Small Town", but also about the current situation of Chinese films.

"Spring in a Small Town" is a slightly different from the previous films made by fifth-generation directors, it is quieter and more restrained.

The fifth-generation directors always want to reflect on history, express their demands, and like to vent their emotions in the film, just like an oil painting with strong colors, without scruples.

The fourth-generation directors are keen on documentary aesthetics, and they think too much about technology, just like an elegant ink painting, leaving an aftertaste.

It has to do with the times they were educated and experienced.

The fourth generation of directors has received systematic education, identifies with traditional culture, and follows traditional realism in film.

In the domestic film industry, 1985 was a watershed year.

During that time, a large number of Western new wave artistic ideas poured into China, filmmakers broadened their horizons, and some young people absorbed Western film ideas and did not want to follow the old path.

They made various attempts, and in this way the fifth generation was formed.

It can be said that the fifth generation of directors is an iconoclastic group of people, who cater to the psychology of the audience in that era to seek change.

In the past, filmmakers focused on storytelling, but the fifth-generation directors downplayed the story, downplayed the performance, and paid one-sided attention to the visual modeling, giving the audience a strong impact, thinking that this was art.

In fact, it is not an art, it can only be said to be a skill.

Therefore, the fifth-generation directors shoot oil paintings in the art form, and the fourth-generation directors shoot traditional ink paintings.

"Spring in a Small Town" should be said to be a film that returns to tradition, focusing on the story and not the form.

"Alive" is also a film that returns to tradition.

In that film, Zhang Yimou gave up the previous heavy pictures and formalism, quietly hid behind the camera, and took a story seriously.

It is enough to create an atmosphere without modeling and ideas, not to engage in folk customs, not to hunt for curiosities, and to tell the bitter past of a family.

The crowd first discussed the story and form of the film.

"I think the story is the main thing, in the past, we didn't have the ability to make the story and characters solid, so we borrowed some Western art forms, on the surface it seems to be successful, won the award, the audience feels fresh, but this is due to our own shortcomings, it can't be regarded as a real success." Jiang Wen said, "I sometimes like to make some formal things, but a good story is the core of the movie. ”

"I agree with this, since the 80s, domestic directors have been exploring and walking out of a way, such as Yimou and others, which have gained international recognition and expanded the influence of domestic films, which is a good thing." Tian Zhuangzhuang nodded and said, "It's just that the times are different, just the formalized things seem empty, I'm not saying that the form is not important, it's like the two legs of people, only the combination of form and story can support a film." ”

"I've been thinking about this for the past two years, trying different themes, some have succeeded, some have not been recognized by the market, I feel that the market is becoming more and more important, in the 80s, we didn't have to consider the market when we made films, they were all national, the box office and the director had nothing to do with it, you could shoot how you wanted, no scruples." Zhang Yimou sighed with emotion, "There are too many things to consider when making a film now, whether this film can make money, whether the audience likes it or not, it's not so pure." ”

In the past few years, Zhang Yimou has been trying to transform, but his style is too distinct, and the transformed films are often not recognized.

His films are typical of form over content, and as the audience gets tired of formalism, they want to see stories more, such as Feng Xiaogang's Beijing-style comedy.

The reason why Beijing-style comedy is successful is because the story is down-to-earth, there is no fake big empty, and the audience feels that this is the story that happens around them, and they will have a sense of substitution when watching the movie.

Zhang Yimou's problem is that once he leaves the form he is familiar with, he can't find the center of gravity.

The audience may only watch the film made by the director, and will not understand the story behind the director, why did he make such a film, is such a bad film really made by Zhang Yimou?

For directors, transitioning is often difficult, which means throwing away past experiences and starting over.

"I have an experience of this, Director Zhang's new film has changed a lot, and I am very enjoyable and fresh when I act." Jiang Wen continued, "Besides, when we make films, we should compromise with the market, I think, depending on the situation, if I make a literary film, then I will never compromise, if it is a commercial film, then we must consider the market, mainly depending on the positioning." ”

"I have noticed that there are relatively mature commercial films in China, which is a good phenomenon and shows that your film market is maturing." Mark Müller commented, "I also noticed some films by young directors who are very imaginative. ”

In the capital, Lin Zixuan showed Mark Muller Feng Xiaogang's Beijing-style comedy.

Due to geographical restrictions, Beijing-style comedies will definitely not be able to enter the international market, and they will definitely fail at the box office if they are screened abroad.

But for the domestic film industry, this is a beginning, from low-cost comedies to high-cost commercial films, there must always be a gradual process. (To be continued.) )