A director who really has depth and connotation makes a movie, and it is also a kind of feeling. Han Han obviously belongs to the latter, a latter who is not too mature and does not know how to express his feelings in movies.

In fact, for a rookie director, it would be good to make a good movie first, and there is really no need to rectify any feelings, but the movie "After the End" is a bit over-emotional, slightly pretentious, although it flashes humorous wisdom from time to time, but it gives people the feeling of being a little empty and depressed.

The poster of this movie is actually a vast world, and the poster of the theme song is also a straight avenue; The movie scene is an empty and depressed world, and the theme song is the resonance that the post-80s generation who have gone through the vicissitudes of life behind the depressed world are looking for.

The men in "The Future" don't look down on their children, their world is a sea of stars. They meet some people on their journey, go through some things, and then time passes through their old skin, and they move forward proudly, like a traveler who is not afraid of a qiē.

The theme seems to have a lot of depth, but having said that, it makes a lot of sense to publish a book, and making a movie is a different feeling.

In the novel, a fragmented description can be used to "comprehend the spirit", but the fragmentation of the film can only cause a loose structure; In the novel, as long as there is a level of consciousness that can be grasped, it is enough to start the brainstorming of the self, and the consciousness of the film is hidden in the characters. You open your eyelids and look in, but the whites of your eyes - still nothing.

The film of "After the End" is permeated with a blind depression that comes not only from the desolate and bleak nature. It is also extended in the body of each character.

After Du Xinghe watched this movie twice, he can probably guess the concept that this movie wants to depict, three brothers who go side by side, the most crazy (can be understood as childlike innocence) are left behind, and the worshiped continue to move forward - just like this life, leaving innocence in the past, walking on the road of life with a little arrogance, a little stability, and a little dazedness, and pursuing their goals. Of course, these are roughly guessed, because the movie table xiàn is not Erer.

A dog was also added halfway through. undertook almost all of the "cute" melting audience shots of this film. In Du Xinghe's view, this is entirely to balance the overly suppressed and gloomy male hormonal flavor in the movie. Specially prepared for the captivity of female audiences.

Of course, there are also female characters in "The Future", but they are almost the same as the male protagonists, with expressionless faces and bitter hatred, the corners of their mouths twitching and inner drama, and their appearance is to elicit the feelings of life. For example, the dream search in the big city, the change of childhood beliefs, and the collapse of love. But they almost all stay where they are. Give the man a slap in the face, and then disappear with a "whoosh". Only the men have cars, and they keep going. With a face with a "sense of purpose". But the carrier of the car disappeared, and the relationship between the two people came to an end, and they could only move forward to meet the unknown journey by themselves. The car is gone, the journey is basically over, the boiled frog will be ended in reality, and there is no sense of disobedience to make a commercial film adapted from this movie, and the spiritual world is so lacking.

As a road movie, if you look at it from the perspective of completing life experience and ideological changes during the journey, it is simply a waste of time - because they are just blindly moving forward, meeting some people, hearing some big truths, and having to pretend to be their own force.

What do they see? What did you feel? Where does the inner conflict come from? Where do we go from here? The movie almost doesn't explain it, and its attention to the characters is not as careful as the aunt downstairs who is basking in the heat when she sees a stranger.

In the end, Brother Chen Bai-Lin Sharp turned into a literary young man, and his hair was tied and Fan Er got up, do you say this is a transformation? So when did this metamorphosis begin? I think this is just the inevitable result of his personal character, because he said that since he chose, he will stick to the end, and later he did drive the car, found his own girl, and wrote the story he wanted to write. The trip itself didn't change anything, it just became the outline of a book. It's like the movie "After the End", it wants to tell you about its feelings, but it's actually just a large collection of "chicken soup stalks" that fill in the blanks according to the pictures.

This has to remind Du Xinghe of a paragraph written by Han Han before, which seems to say that some people in his novels disappeared inexplicably in the second half. Some people say that this is talking about the impermanence of life, and some people have some things that are difficult to find after only appearing once, and he says no, it's just that the front line of writing books is too long, and they forget about the author when they write it. At that time, Han Han was still a little arrogant, and when someone told him about his feelings, he made himself humorous and ridiculed, and now at this age, he has picked up what others said about "the impermanence of life" and began to chew it repeatedly, but how to say it, some truths are not something that can be explained by meeting a person. No matter how nice the words are, if they are not good, they are just Q-Q signatures.

It's like: when others talk to you about feelings, you are immersed in your own youth without hearing from your ears; And when you raise your head and want to talk to someone about your feelings, you find that you have an empty stomach but no one wants to talk to you anymore.

Although there are many problems with this movie, Du Xinghe still feels that this film is far away from "A Certain Era" for several streets, but it lacks the director's experience.

The ending song of this film "Ordinary Road", Du Xinghe heard it long before the crossing, and now after really seeing this movie, Du Xinghe found a very classic theme song "After the End" from the movie. The original song of this song is Squirt? Davis's "the-end-of-the-world", the original version is very classic, and has been adapted by many artists, and has also been sung by many people, Du Xinghe heard this version of Deng = purple = chess, he felt that this should be the best version of "the-end-of-the-world" he had heard. Han Han made a move to recompose the lyrics, and it was really extraordinary.

Although he is not a person in a circle, many things are common to geniuses. I believe that over time, if this guy has been following the path of a director, he will definitely give people more and more surprises in the future, instead of being like another director. It will only give people more and more vomit.

After watching "The Future", seeing that the wolf of Huaguang was far from waking up, Du Xinghe looked at a real domestic sincere work. In fact, during this period of time, there were a lot of good blockbusters in Hollywood, but Du Xinghe was not very interested, and he didn't know when he started, his interest in domestic films far exceeded that of imported blockbusters.

He watched this "Darling" later. In fact, when I first crossed it, I also looked at it with a little light. But at that time, because the wolf of Huaguang had been picking up girls in the cinema, and then he left halfway, he didn't watch it all, and he was very panicked. So at this time, he searched through the memory bank of the wolf of Huaguang. This guy has a conscience. After that, I watched it again on my projector, which can be said to be the most tear-jerking film in 2014. Looking at it this time, the wolf of Huaguang was shocked by the national conditions of this plane, and was also shocked by the Chinese movies of this plane!

After watching the not-so-mature "After the End". Looking at this sincere work of Chen = Kexin, Du Xinghe also felt a kind of touch in his heart that was hit by a tear bomb.

What if this plane can have more such themes, and use movies to pry (maybe knock) reality, even if the play is not perfect and the plot is not touching enough? Such films can be shown in domestic theaters, and big-name actors can appear in such films without scruples (salary and award pressure), even if they have no commercial foothold? What's more, the acting skills of Huang = Bo and Hao = Lei in this movie can no longer be commented on whether they like it or are great.

Du Xinghe watched this movie in his consciousness, and still cried, even though he always had a feeling of scratching his boots.

Speaking of movies, this is really a very realistic theme, in reality, such things happen every day, thanks to parents like Tian Wenjun and Lu Xiaojuan.

A child is not an oversized wallet, but a part of your body, a continuation of you, and for many people, this is what it means to live.

Every time he felt this, Du Xinghe felt a faint pain in his heart, because he had also made his parents lose the meaning of life. Only those who have truly experienced life and death can appreciate the great sense of emptiness and despair that comes with loss.

This film, from the superb acting skills of the actors, allows those who have not experienced this feeling to touch the pain and despair of losing their children and becoming parents.

This is not a film about the suffering of the parents of missing children or the promotion of abduction, the director's foothold should be on the conflict between ethics and law.

In fact, this is a very flattering point, and it is also a larger and deeper concern hidden behind the abduction.

Divorced couples face the turmoil between the two families caused by the loss of their children, whether the wife of the person = trafficker = child has the right to adopt an orphan, whether the second child is a betrayal of the lost child, the legal conflict of issuing a death certificate for the lost child for the birth of the second child, the feelings of the lost child for the adoptive mother of the trafficker, the recovering of the child and re-establishing feelings and ties with the biological parents, the conflict between the rural women who do not get the law = legal aid = help, the conflict between the lawyer who is good at exploiting legal loopholes and the law, the husband who is infertile and puts the responsibility on the wife, the gray area of justice, people = trafficking =The pregnancy of the wife, and the burial of the mother of the secondary teacher and the daughter of the criminal, including the court you see, are not the same as the majestic and solemn court of the people in the general imagination. The social significance of these conflicts and the conflicts themselves are deafening.

There are legal issues (the imperfection of the anti-abduction law), there are also ethical issues, and more of a conflict between law and ethics, this core is the core of many Hollywood movies, and its significance goes without saying, director Chen Ke Xin is a cultural director, and he and his screenwriters think a lot and deeply. One can also see the expressive ambition that comes from this kind of thinking.

But it's a pity that there are too many things I want to say, but not all of them can be said well.

The film devotes almost half of the film to the story of losing children and finding children, but as the director said, the real beginning of the plot is actually after finding the child.

As far as the film is concerned, the conflict in it is interesting and powerful. But there are so many things crammed in that it seems too rushed. So at the end of the shot, when Li Hongqin, played by Zhao Wei, was crying in the hospital because she was pregnant, most people's reaction was, ah, it's over! And some people's reaction is that they think it's just beginning.

Many people know what this end means, but don't approve of it.

The film asks a lot of questions and tries to do a little bit of exploration. But it does not provide the reflections of the director and screenwriter.

Just a generalization, and then end in a strange sense of absurdity.

Admittedly, this design is wonderful, but the fact that such a theme focuses on the pregnancy of a human-trafficker-child wife is a conscious toying technique anyway.

Even if it ends with the child starting a new life with a mouthful of Anhui Mandarin.

After all, this is a film that used to be called "Dear Child" or "Abduction".

Don't forget what you wanted to express in the first place because you have gone too far in dramatic conflict.

As for the screenwriter, the details are moving. Including Huang Bo telling that it was good to find out that someone was deceived later, including the special design of finding a red rope and finding a network cable in the complicated network cable at the beginning of the film, including the child's desire for another world and even the gap between the rich and the poor when children go to ice skating, including the details of children learning dialects (Hao Lei has always wanted children to speak Mandarin before, Huang Bo thinks that children from Shaanxi-West should speak Shaanxi-Western dialect.) In the end, the child who came back spoke An-Hui Mandarin). Including the text message that Zhang Yi sent to Huang Bo when he closed his eyes and pretended to be asleep when he was found by Huang Bo.

As for the actors in this film, it must be used in a larger space to accommodate some beautiful words.

Huang = Bo has a comment on Lu Xiaojuan played by Hao Lei: "It's just that I accept my fate." You don't accept fate. ”

Too accurate!

Hao = Lei's beauty always has a kind of determination and poignancy that does not accept fate.

I remember when she went downstairs. Huang-Bo asked her. "How long do you say it takes for a child to call her mother after she was abducted?" She glanced back, a thousand words at this glance, angry. Sadness, despair, pain, resentment, and helplessness, she finally turned and went downstairs without saying anything.

I remember that at that mutual aid meeting, she faced Zhang Yi and said, "Please share it with Lu Xiaojuan." There was a moment of silence. Silence is the hardest thing to play, and at the beginning of the film, she is a woman who is so eager to talk and argue, and here she is silent. A rare blank space, without superfluous facial close-ups and lines of the people around her (although it's strange that there is no close-up), but there is a tension in the air until Hao Lei suddenly bursts into tears. She cried and said, "I'm sorry, I lost the baby." Her lips trembled and she squatted down slowly. This sense of guilt, reminiscent of the previous slap of Huang Bo at the police station, can deeply understand the great torture brought by this guilt, this is the real reason why she refuses to eat or drink her husband's sex-demand, she can't forgive herself or even face her mistakes. And at this moment, her outburst is the real outburst of her pain.

There was also the scene where Huang Bo cried bitterly, she stopped Zhang Yi who wanted to come forward, naturally, silently, glanced at Huang Bo clearly, and slowly suppressed the feelings in her heart.

The film is moving, all these details, feelings, are between the eyebrows. It seems that the actions are ordinary, but when you think about it, it is a great mourning.

Huang Bo's highlights, if you want to record them one by one, there are more. His subtle acting skills are really gratifying, when Lu Xiaojuan squatted on the ground and hugged her arms and cried bitterly, he did not hug her like a domestic drama (as warm as a reunion), but stood next to her, looked at her, wanted to get closer, but did not get closer, his eyes were moist, his lips trembled, even though his heart was full of mountains and rivers, but after all, he couldn't say anything and didn't do anything.

His sudden outburst is even more exciting, a crying scene at the police station after recovering his son, although he is also slowly squatting down, but unlike Hao = Lei's delicate crying scene, Huang = Bo's crying is shocking, overturning the river and the sea, this kind of impact of regaining hope after great despair, after being suppressed for three years, is in this bitter cry. Huang = Bo himself is a person without the burden of idols, so he cried ugly and burst into tears, but when you look at it, you don't know when you shed tears.

Huang = Bo and Hao = Lei, this is a very incompatible pair, in terms of temperament, Hao = Lei If the Qing Palace is a concubine after the decline, Huang = Bo is the one who pulls the rickshaw in the market, and it is not even as harmonious as Huang = Bo and Sister Chiling. But after watching the film, Du Xinghe loved them very much. Thanks to the director's selection in this way, the audience can feel the hearty feeling brought by this kind of acting skills (one more word, both of them are good actors, and they both belong to people who are particularly serious about acting to the point of magic barriers).

The rivalry between the two people is very homely, and there is no performance of yelling and overexerting force. But the foundation is in the grasp of this power. There is no need to narrate them one by one. Let's just say one, Tian Wenjun was in the store, the landlord came to drive people, a struggle was fruitless, the landlord walked away, Huang = Bo looked up, and saw Gu Xiaojuan sitting on the side of the street in black, the two looked at each other, and said a word, it was really a glance for ten thousand years. And the most impressive thing is. Gu Xiaojuan walked into the store. Ask, "Did you sleep well?" Huang = Bo said, "I can't sleep, I really hope I don't sleep." Gu Xiaojuan handed him a bottle of medicine. Eat this to get a good night's sleep. If it's good to sue me. The two never looked at each other from beginning to end. There are no emotional ups and downs in the speech. But two bland lines, natural movements, I believe. They were really in love with each other.

What is really rare is not acting, nor restoring life, but refining the daily life of life, but sublimating it into the expression of the drama, allowing the audience to reflect life and self.

The cast of this film is definitely a golden lineup, and it is almost a lineup that can make people buy tickets even for the sake of actors. Huang = Bo and Hao = Lei needless to say, Zhao = Wei is also a first-line acting reputation in the first line, Zhang Yu = Qi Although he has not yet become a big player, his gestures are full of crystal light, Zhang = Yi is also a serious actor, although he has just been on the big screen for a short time, compared to the others, he is still a bit of a TV drama fan, but there is a very promising future, Tong = big = is familiar with playing this kind of role, the director loves him, basically gives him the right role, and he has not dropped the chain, and the rest of the people, including Gu Xiaojuan's husband, the police, two young actors, Sichuan workers are all remarkable.

Thankfully, Chen = Ke = Xin did not waste this lineup (how many directors and filmmakers waste good actors, often let people out of the theater, complain about their powerlessness, but it's a pity that this cast), Chen Kexin has almost let everyone play their potential.

However, Zhao = Wei's role in the film is a little debatable, I have to say that this should be Zhao = Wei's bigger or even biggest role challenge since the film, rural women, face stains are indistinguishable, a dialect, no culture. Looking at the comments, she also said that she contributed the biggest breakthrough acting skills since the film. Du Xinghe has always admired actors who dare to abandon the burden of idols and spoil themselves, and Zhao Wei is really acting and serious in this movie.

However, I always felt that this was not a role for her. Although she has tried hard to practice herself, she still doesn't have that rough texture. After all, there are many people who will have preconceived notions and will always jump out of front of the face of "Little Swallow" or "Yao Mulan", and her unique way of pronouncing and voice cannot be changed even in front of the An-Hui dialect.

There is a scene where she drags her luggage out of the subway station in very dirty clothes, and her dress is out of place in this bustling city. I don't know how many people recall that "Sister and Sister Break into Beijing-Beijing", whenever it changes, it knows that time is far away, and the camera teacher cruelly gave a close-up of the face.

Zhao = Wei gives people this feeling, let Du Xinghe be more careful, if you choose the wrong path when you debut, it may really affect people for a lifetime, Xiaoyanzi's grade created Zhao Wei, but in a sense, it also ruined Zhao = Wei. Because I know that now, many people's first intuitive feeling of her is Xiaoyanzi, and many people still think of Xiaoyanzi when they watch her performance...... Alas, a sigh.

Another person worth mentioning in this film is Zhang Yu-Qi, in this play, she doesn't have a few lines from beginning to end, but her aura is strong. The first appearance of a goddess in white is full of style, and it is the kind of Joan of Arc-like goddess style. The most rare thing for Zhang Yu-Qi is that he has no lines.

Zhang Yi's performance is also very good, he has a scene, at Tian Wenjun's child's birthday banquet, talking about his wife's pregnancy, and then leaving, he raised his head as he walked, tears flowed down. There are a lot of crying scenes in this play, but this one is really hard to distinguish.

This kind of movie is really worth going to the cinema to support, although in this era, few people are willing to go to the cinema to find abuse, but this kind of sincerity is really impossible to refuse.

If people take a more look at the children begging on the road because of this film, and see the missing person notice on the Internet or telephone poles, there is a little less evil and more goodness, then the merit of this film will be greater.

After Du Xinghe watched this movie, the feeling in his heart could not be calmed down for a long time, he carefully recorded every detail of this movie, and when he went to another plane, he wanted to try to adapt this film into a movie suitable for the social environment of another plane, you know, although the social level of the other plane is a higher level, but the thing of abduction-child trafficking is also existing, if you can use the movie to reflect some problems and attract people's attention, then this kind of merit is much more meaningful than making people laugh and pass. (To be continued......)