Most of the small and medium-cost Taiwan bending films even had a box office of around NT$10 million in 2014, almost all of which were miserable losses.

Among them, there is probably only Zhao Deyin's "Ice. Due to the low budget, the copyrights of various countries sold in other cities have almost been recovered.

Although many people have always disagreed with the use of the box office to determine life and death, the box office results of the 2014 Taiwan Bend movie are indeed not particularly eye-catching.

When Kang Kang said this, he sighed a little, he was very optimistic about the film industry before entering this industry, and as a result, as soon as he stepped in, he caught up with the low tide of the entire market.

In recent years, it seems that the production volume of Taiwan Bend Film has increased, the influx of talents, and the new directors have been in the head, and every year there are new talents who make feature films for the first time to join the film industry, but in fact, there are only a handful of good works that can reach a certain level or above.

In 2014, Hou Xiaoxian's "Nie Yinniang" was still only heard of the stairs, and Zhang Aijia's "Nian Nian" was confirmed to be postponed until 2015.

After the rest of the "new films" in Taiwan, several senior directors who started their creative careers in the eighties and nineties also launched new works in 2014, including Yi Zhiyan's "Action Codename Sun. Middle. Mountain", Li Gang's "Want to Fly", and Wan Ren's "Che Fight", with different results.

Increasingly, directors of the stage bend are seeking big. In 2014, there were several "co-productions" with the Taiwan bend crew as the main force and stayed in the Taiwan bend for filming, but the fate was very different.

Like "Army. Middle. Happy. The box office performance of "Garden" is limited, but there is no chance of being a film in the mainland; Cai Yuexun's sequel film "Ruffian. Sub-Hero 2", then adjusted to be larger. The development of the taste of the land audience is really in the large. Lu's box office performance was good, but it relegated the Taiwan market to a secondary level.

John Woo's "The Wheel of Peace: Troubled Times" and Luc? Besson's Luc~Besson's "Lucy" was also filmed at Terrace Bend. caused a topic, but the former only accumulated a box office of NT$53 million, while the latter exceeded NT$380 million in one fell swoop and ranked second in the annual total box office list of Taiwan.

More and more crews are considering the film on the stage, Martin? Scorsese's new film "Silence" is expected to be filmed in the spring of 2015. Perhaps, this can be regarded as another new way out for the local production industry in Taiwan.

Kangkang introduced. In the face of a whole year of Taiwanese movies, "Outing" is not only still the leader with the highest artistic achievements, but also obviously leaves other movies behind in one fell swoop; It is also the most unique "form" of the Taiwan movies officially released in 2014. Director Tsai Mingliang originally didn't want it to be released in theaters through regular channels, but later he used a compromise method to only release 50 limited screenings in a few theaters in Taiwan, but the result was a strange ticket, and it became a big hit from the pre-sale, and finally almost all of them were sold out. Half a year after the end. He used photographs, light, projections, and installation art, as well as the screening of two films, "Outing" and another interview documentary, "That Afternoon", to hold a special exhibition of "Outing in the Art Museum" at the "MoNTUE Art Museum" in Taibei City, finding a new and another attitude for "Outing" that can be appreciated by the public.

"Outing" is the tenth feature film directed by Cai Mingliang. This time, Li Kangsheng went from the time when he was in the West. Door. "Teen Nezha", who has nothing to do in the town, has become a father of two children, a temporary worker who holds signs for real estate advertisements on the street, and has no fixed food. The two children are fine, so they can only linger in the glamorous hypermarket. The English title of the film is "Stray Dog", which seems to be a symbol of a certain living state of a family of three. It is also the auspicious light that does appear in the film. The film is full of the image of "home", and it is in and out of the play, tangible and intangible, a kind of dense and intertwined emergence. In the past, Li Kangsheng, Lu Yijing, and Miao Tian formed a family in Cai Mingliang's movies, which seems to have been after Miao Tian's ghost-like ending in "What Time Is It Over There", and the plot of "Face" where his mother died and was reluctant to leave. Evolution to the continuation of the family to the next generation. And the "well-off" has become the "father", and as for the physical house, it has become a dilapidated ruin, and even like a whole distorted and changed platform. North. City.

In Cai Mingming's films, the pace is often slow. But it is often in the performance that does not seek speed, we seem to be able to perceive the intricacies of life and see the cruel marks of the passage of time. Li Kangsheng's face is written with vicissitudes, and his performance is more like the accumulated strength that has exploded for more than 20 years, which is unmatched. Even the stage. North, from Yang Guimei's crying in "Long Live Love", to Li Kangsheng and Chen Xiangqi's silent staring at the mural on the wall. The same tears, the howling and crying back then and the expressionless tears at the moment, how many years and the accumulation of life experience have been in between. Time is indeed a colorless and tasteless but extremely crucial element in Cai Mingliang's films, just like water is to the human earth, silent and critical. "Outing" has become one of the most memorable movie-watching experiences for everyone throughout the year.

From Myanmar. Zhao Deyin, who came to Taiwan to study and make films, is similar to Cai Mingliang from Ma. Come. West. The experience of coming to Taiwan and returning to Taiwan from the international red. Ice. Poison is his third feature film, but it has made greater progress and maturity than the previous two. He once again focused on Tai, who saw Taiwan as a blessed place to save money. Distant. Side. to capture those who break through the boundaries of nationality and race, and struggle desperately for the basic needs of life.

Ice. "Poison" seems to have almost no plot directly related to Taiwan; But the charming realism of the film, which controls the relationship between the characters and the environment under the camera, is hard not to smell the smell of inheritance that has been descending from the new film in Taiwan. This time, Zhao Deyin showed a more accurate and skillful scene scheduling and editing rhythm, so that every scene of "Methamphetamine" can achieve the full process of giving full play to the dramatic effect in limited resources. Zhao Deyin proves that a good movie does not have to spend a lot of money, the most important thing is to keep cultivating and improving from the work, so that you can gradually get rid of the jerkiness of novices and brew a skillful authorial style. He must be an important figure on the future road of Taiwan Films, which will attract continuous attention.

Niu Chengze's "Army. Middle. Happy. Garden" has also become his "The Way of Survival of Love" to the present. One of the most mature and generous works. If it is simply interpreted, it is the growth history of a young Brother Bing, through the vision experience in the army, from human life and death to physical ** touched; It is at the same time has a strong political ... Govern. The macrocosm and microcosm of sexuality, looking down on the fate of Taiwan, absurd, helpless, and pathetic. It seems to be history, but it seems to have never been solved. To put it bluntly, Niu Chengze is describing the era that you and I were once familiar with or unfamiliar. A small island surrounded by the sea (Kim. Door or table bend? No one has true freedom and happiness, and under the twisted rules of the game, each character chooses to protect themselves with violence and deception. Niu Chengze made the most visionary and mature report card since he started filming. In addition to the big proposition, it not only retains the popular drama elements and dramatic charm that he is good at, but also achieves a soothing and contrasting effect between the transformation and blending of narratives. Even if Niu Chengze's original intention was just to tell a sad song belonging to the times for his father. But in the end, he still filmed a pattern height that was beyond his personal feelings, so that "Army. Middle. Happy. "Garden" has become Niu Chengze's masterpiece.

Wan Ren, one of the athletes of Taiwan's new movie, also launched the long-awaited new film "Car Fight". This film continues Wan Ren's consistent confrontation with politics. It is a reflection and critique of historical themes, but this time it is presented in a comedic way. The girl fell in love with a young man from the mainland, and finally took her parents and elders across the sea to propose marriage. To be honest, the themes and techniques are not new, only sporadic highlights and moving moments remain. There are few surprises. Another similar work is Li Gang's "I Want to Fly", which depicts the struggle and growth of air school students between facing love and chasing their ideals in the sky. Li Gang jumped from the producer to the director, and his ambition to make an epic inspirational blockbuster is obvious, but in fact, it is thunderous and rainy, and the talk of love is too "pure love" and lacks a twist; Shooting flying air battles is just a bluff, and there is no real crisis of conflict. It's a film that's so flat that there's almost no "ups and downs". It's like a 70s bend. Army. Teach. The retro reproduction of the two types of film and Qiong Yao's movie is reproduced together, and there is no spark of surprise.

Yi Zhiyan's "Xing. Move. Generation. Number. Grandchild. Middle. "Mountain" is a feature film that he finally completed again after one of the three-part movies "If Love" in 2005, but it has become an outlier in Taiwan's movies. Its appearance looks like a youth campus film that everyone loves to shoot now, and it seems realistic. The result is extremely stylized; The theme is solemn, but I didn't expect it to have a spark of comedy. The main characters of the story are two high school students who fall in love with their grandson who has been in the school storeroom for a long time. Middle. The mountain bronze statue wants to move it away and sell it for cash. Yi Zhiyan "played" the story of stealing the bronze statue into a fable. The two auditioned actors, Zhan Huaiyun and Wei Handing, are obviously a little jerky in their performances, but the director makes good use of their temperament and makes the whole movie deliberately simple. Those "stupid" lines that are kept and deliberately repeated make people feel stiff and awkward at first, but later, they seem to be deeply ironic rebellion again and again. It is a work that is far more layered on the inside than it seems on the outside, and between the laughter and anger, it conveys an incomparably heavy message - the gap between the rich and the poor. It's not so much that Yi Zhiyan is shooting teenagers, but the author thinks that the faces hidden behind those "beautiful girl masks" are actually sensible and ashamed adults.

Several directors who started making their first feature films after the "New New Wave" of "Cape No. 7" in 2008 released new works in 2014 that were different from their predecessors, trying to find a balance between embracing the audience and personal style.

"Sweet Secret Killing" is Lian Yiqi's second feature film, he has been dormant from behind-the-scenes work for many years, and he has a flexibility that is different from that of ordinary young new directors, and he always strives to boldly break through in the rare genre tradition in Taiwan. This time, "Sweet Killing" is a composite attempt of suspenseful police and bandits and a comedy of enemies, from the trivial matter of a puppy eating chocolate to death, to a high-profile case. Ariel Lin and Su Youpeng each play two policemen who deliberately change their stereotypical gender images and don't fight and don't know each other, one is overly serious and the other is hanging, forming a contrast. The tone of the film is light and humorous, as well as exaggerated irony, although the suspense of the plot arrangement is too simple, but many imaginative bridge designs, you can still see Lian Yiqi's unique personal style.

From "Flying Against the Light" to "Accomplice", Zhang Rongji's changes are even greater. "Accomplice" depicts the accidental alliance of three boys on the high school campus because they bumped into the corpse of a girl in the same school, but because of another accident, the secrets and shadows of the three people's different personalities are gradually revealed. The cinematography and imagery of the film are prominent, and the atmosphere is precisely controlled, but in contrast, the complexity of the plot and the sculptures of the characters is exposed. As for Zhuo Li's "White. Rice. Explode. Play. Guest", the subject matter is very courageous and idealistic, describing the famous Yang in Taiwan at that time. Confucianism. Door. Table. He planted homemade small bombs to protest to the government about the harsh environment in which rice hurt farmers. The film only achieves the tragic power of the characters themselves due to real events, the plot is too trivial and scattered, and the side characters are also uneven, which is a work that is more topical than the quality of the film itself.

Chen Hongyi's "Seven Designs of Love" revolves around a design company with a total of seven people, forming the main interpersonal network of the whole film, depicting workplace struggles and generational differences, ridiculing the superficiality of the rich second generation, ridiculing the essence of the design industry, and doubting the authenticity and falsehood of love. The most important thing is to focus on the word "design", because one qiē and one qiē are calculated. The film begins with a joke about Taipei/Beishi striving for the 2016 World Design Capital, and from time to time inserts special effects shots of the sudden changes in the cityscape, Chen Hongyi is obviously concerned not only about the love and hate of the protagonists in the film, but how the environment has unconsciously produced unexpected changes that you and I can't imagine. There is no small freshness, no local amusement, full of unconcealed and intellectual-style cynical ridicule, but it also boldly pinpoints dissatisfaction with reality and anxiety about the future, this film makes the author can't help but think of Yang Dechang. Chen Hongyi's fascination with the city and the corresponding panic has become a recurring theme in almost all of his works along the way. Of course, this new work is not perfect, there are still some parts that are too plain and have the old problem of adding snakes, but its courage and vision are inspiring, between narration and discussion, laughter and scolding, whether you like it or not, you can't deny the indisputable fact that it has written a new page for Taiwan films. (To be continued......)