Kang Kang later told Du Xinghe and them according to the current situation he had learned in the past two years that in recent years, almost all of Taiwan films have appeared in theaters on average more than 50 films a year, and everyone no longer only regards movies as a practice of personal ideals and artistic achievements as in the past, coupled with the investment of many funds and venture capital companies, the word "recycling" has become the primary goal of many films and producers. Kang Kang is deeply touched by this, because his "100,000 Urgent" is not very good at investment recovery.

It's not a heinous thing to make a movie and want to make money, but in the name of a commercial film or genre film (genre~film), in fact, the quality of the film may not necessarily be made in a mess. Taiwan Bend Movies is gradually beginning to have such a trend now, claiming to hope to attract a large number of entertainment movies to attract a large number of audiences, but there are very few works in the vast sea of films that can really take into account both box office and quality, so there are still many works that are not commercial at all, not genre at all.

Zhu Yanping, who has supported half the sky for more than 30 years, also launched "The Mansions" in 2014, playing the warm and homely Xiao Jingteng, who is always waiting beside the beautiful girl Jiang Shuying, and finally moved the old-fashioned story of true love.

Zhu Yanping also pieced together a lot of jokes in the anemia plot, some fresh, some old-fashioned, almost unable to get rid of the traces of Zhu's works in his impression.

What's even more terrifying is Huang Chaoliang's "Ruffian. The son meets love", insisted on taking both sides of the strait into the story, and wrote a young man who owed money came to Taiwan and wanted to sell his grandfather. The story of Ding Land, with the plot of requiring a group of difficult townspeople to sign a consent form, allows a bunch of local actors to come in and make cameos; But the whole story is wishful thinking to the extreme, both funny and tear-jerking, the four are different and lack of details, and the images and scripts are nothing new. The embarrassment is extreme.

Cai Yuexun's "Ruffian. Child. Heroes 2 continues the route of the previous episode, but it is even more intensified. Originally ruffian. With the change of actors and the change of scale, Cai Yuexun manipulated it into another pure action film type that tried to compare with Hollywood specifications. Under the obsession of over-intoxicated with special effects and large-scale explosion scenes, the results of the second part have deteriorated, and there is only chase, running, jumping, and bumping. There is no action movie corresponding to the inner dramatic tension; The worst thing is that many of its large-scale action and visual effects scenes are not perfect, and even show signs of stiffness. Cai Yuexun's courage is commendable, but in terms of movies, it is still an obviously pale work.

The two movies that fought in the Lunar New Year stalls both chose to follow the most popular Taiwanese local route in recent years. "Iron Lion Jade Linglong" is directed and acted by Peng Chacha, and obviously wants to replicate the operation mode of "Formation", one line takes youth idol love, and the other line takes local skills and blood. It's a pity that Peng Chacha can only play lip service, more than lively, there is no sense of cinema, and the story itself is completely unimpressive. Relatively speaking, although Ye Tianlun's "Dadaocheng" is relatively presentable, it is still overly greedy and fantasizes about taking all creative concepts and commercial elements at once. The main axis is to travel through time and space, and through a famous painting, Yousheng and Brother Zhu Liang fell to Taibei City a hundred years ago, but the two have their own plans. It's a pity that it didn't take long to flip the fun of traveling through time and space. The story suddenly enters the strict proposition, Jiang Weishui's impassionedness, and the arrogance of the Japanese. Let the film become a serious historical film. Of course, Zhu Geliang doesn't necessarily have to be gags, but after the introduction of historical themes, the audience will no longer only look at the one in the film in a comedic pattern. Between talking and laughing and using soldiers and realistic discussions, even if the director has a strong sense of mission, he still has to face the dilemma of inevitably falling into a dilemma.

Several literary films have taken into account the audience's preferences, but they have not been able to find completely accurate operation methods in the rules of the genre. So much so that each of them has trouble being stretched thin. "Waiting for a Coffee Guy", which has the best box office results, is directed by Jiang Jinlin, one of the executive directors of "The Girl We Chased Together in Those Years", but from the original work, adapted script to the multiple identities of the producer, the strong smell of "nine knives" is everywhere. Different from "Those Years. The purity of the single-line narrative of "The Girl We Chased Together", although it is also about youth love songs, "Waiting for a Coffee Guy" connects three sets of love stories in different time and space, and the intention to eat different types of audiences in one go is very obvious. Sometimes Kuso (curse words, the original meaning is hateful), sometimes literati, and occasionally run out of the nostalgic style of retro Taiwanese films, often before getting used to one of them, they suddenly jump into another atmosphere, which makes it seem chaotic in tone. Fortunately, the second half is back on track, as long as you are willing to believe that the power of true love is enough to move mountains and seas, the innocent and stupid and persistent and courageous view of love in the bones of the nine knives seems to be the most charming magic gold dust.

"Just One Minute" and "Reversal to Win" are two examples of similar situations. "Just One Minute" uses the touching love between humans and dogs as a selling point, interspersed with the love exercises between Zhang Junning and He Rundong between strong women and weak men. Between Jiji's career and returning to family life, women often fall into a dilemma, but unfortunately the female director Chen Huiling only grasped the key points, but did not shoot the thickness, making the conflict between the hero and heroine become too superficial like a family wine, and the dog branch next to it is not enough to support strong emotional momentum, so that the film becomes a bit like boiled water, not so tasteless, but indeed light. "Reversal Wins" is a sports inspirational movie that seems neat. "Mayday" member Wen Shangyi (Monster) plays a demoralized pool player, who originally lived only with wine bottles, until he took over the custody of his brother's old pool shop and his daughter, and finally began to face life squarely. The characters and plot settings are almost traceable, and it seems that all the ups and downs are buried, but they lack the power that shakes people's hearts. "Reversal Victory" is certainly not a bad movie, but it seems to be reading from the script without surprises, and all aspects seem to be a little less powerful and not in place.

In 2014, there were many new directors who made their first feature films, and some continued to work in difficult circumstances. The only really exciting films are "Echo Sonata", "The Chilling Effect" and "KANO", and they just show the very different production scales of small, medium and large.

If it is not particularly emphasized that this is director Qian Xiang's first feature film, at first glance "Back to the Light Sonata" may guess that the director is a woman. This is one of the few films in Taiwan with a middle-aged woman as the protagonist, and Qian Xiang, who has been turned from a cinematographer to director, does not indulge in the beauty and delicacy of each shot, but rather a bit like returning to and continuing the tradition of new films. Exchange time for love, starting from realism, embellished with a little magical power, and go straight to the heroine's subtle and complex inner world. It is not denied that this film is reminiscent of Cai Mingliang, but compared with Director Cai's current old monks, Qian Xiang is obviously more into the WTO. In particular, there are predictable traces of axe chisels on the end treatment. Chen Xiangqi almost single-handedly supported the love and rhythm of the whole film, with high difficulty and heavy weight, fully showing his acting strength, and it was not a fluke to win after the "Golden Horse" was sealed.

"KANO", produced by Wei Desheng and directed by Ma Zhixiang, depicts the 1931 Canon baseball team for the first time in Taiwan. Root. Armor. Child. The story of the finals of the park, it has the test of reconstructing the historical background, and what is hidden in the bones is the climax and shaking of all sports inspirational films. However, the dedication and ink in the portrayal of characters in "KANO" seem to lack details. Just looking at Hyotaro Kondo's interpretation in the movie, we only know his obsession, and we don't know the real moving reason behind it at all. With a three-hour storytelling, after the passion, there are actually a lot of things that fall short (including the special effects that many have already pointed out).

"The Chilling Effect" challenges another unflattering theme, Guo Caijie plays a college freshman, who is played by Dai Liren as a professor of music. Invade. harm, bringing a storm inside and outside the campus. Wang Weimin is also one of the disciples who followed Yang Dechang, and he has mastered this subject matter that may fall into stereotypes quite well. Especially in the second half, the court drama focuses on the complex lust and power relations between several women, at least maintaining the dramatic tension of the climax. has achieved a rare social realistic issue in Taiwan films.

Several other new director's works are not mature enough. "Come on Boy" can be seen to be an implanted marketing film paid for by the sugar factory, and there are also traces of influence from "Cape No. 7", but unfortunately the musicality is insufficient, and the internal conflicts of the characters are too far-fetched.

"So You're Still There" is about the dilemma between man and faith, and depicts the story of a false lama who intervenes in a resentful family that has lost a child, and finally finds redemption for each of them. The subject matter is very special, and the mental and emotional power of the result is very limited, but it is a pity that the two actors Lu Yijing and Huang He performed hard.

Li Ding's "The Unreachable Place" is a motorcycle journey of two young people, although it is not as unbearable to live in another world as the previous work "The Vocal Exercise of Love", but it is still full of disease-free emotional death.

As for "Waste" and "Mountain Boar Hot Springs". The former talks about the feeling of the gap between urban and rural areas, and the latter describes the mental journey of losing a loved one and gradually healing the pain.

"Violence Now" was filmed by a group of young filmmakers with an average age of less than 30. Based on Arthur~Miller's classic play The~Crucible, the text of this classic stage play is presented intertwined with the modern school adaptation, but the two are not necessarily contrasted, but rather artificial, and the cast is also embarrassed by over-theatricalization.

Another movie that was also trapped by the original stage canon is "Aurora Love", which is adapted from Li Guoxiu's classic play, in response to the realism of the film from stage illusion to film, the script has not been adapted appropriately, when there is no live shooting in the North Pole, and the pain of falling out of love only interprets the sorrow of painlessness, the film is doomed to the fate of failure.

In the field of documentaries, there are still a few documentaries in 2014 that are "crowded" into the theater system, but they are no longer seen in 2013, and the only documentary that has been released on a large scale is probably only "Mazu is Taiwan" directed by Ren Xianqi, but this film as a whole only "keeps up" with the religious fanaticism of Mazu around Taiwan, and the depth and breadth are insufficient. Therefore, although the topic is not small, the box office and word-of-mouth are not ideal.

The other films are also only very small-scale films mainly in Taibei. "War Wine" opens the timeline with the historical background of Kinmen's brewing of sorghum wine, but it only achieves a running account and implanted marketing like a song of merit, which is difficult to discuss in the aesthetic category of the documentary.

Finally, the only documentaries that really have a high level of performance are probably "The Nester" and "The Rest of My Life: Saidek? Balai" two. After the illusion of prosperity of "Twelve Nights" and "Seeing the Stage" in 2013, the documentary has finally returned to the normal state, and is no longer regarded as a populist hot commodity that can be manipulated at will.

"The Nest Builder" was the winner of the Million First Award at the 2013 Taiwan Bend Film Festival, and it was delayed for almost half a year before it finally had a chance to be released. Less than 60 minutes long, this documentary captures the unspeakably strained relationship between his autistic son and his single father who cares for him from a flexible and self-conscious perspective. Between being close and watching coldly, Shen Keshang controlled the precise scheduling, so that this cruelty and unbearableness were naked in front of you and me, but he maintained the due observation and dignity of the subject, and the power to shake people's hearts was extremely powerful.

The Rest of My Life - Saidek? Balai is like the feature film Saidek? A complete addition to Balai, it tells the past and present of the Saidek people, and even the Japanese point of view is delicately stated, coupled with beautiful and poetic photography and sound effects, looking down on the heavens and the earth, and allowing a qiē to return to the real world beyond the chaos.

Du Xinghe didn't expect Kang Kang to have studied the documentary market in Taiwan, obviously, this big brother who is not confused really wants to make some achievements in the film field. Du Xinghe also really wanted to help Brother Kang.

At the end of the day, Du Xinghe drank a little too much, and he promised Brother Kang that if the company allowed it, he would be willing to be the leading actor in Kangkang's next movie to help Brother Kang become an instant hit in the future, and he admired Brother Kang's talent very much. (To be continued......)