"I was honored to attend the premiere of "Winter's Bones" today, this movie is really amazing, it's so exciting!

-- Ye Wei's Twitter, December 9, 2006

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"Why is the kiss scene gone?"

On Sunday afternoon on the 10th, Ye Wei and Lily, Jennifer, Alicica, Gia, and Jenny went to Bowlmore in Santa Monica to bowl. This bowling was something he had agreed with Jennifer before, and he never had time to cash in until this day.

He wanted to act in a trio, but the conditions didn't allow it. At this time, in the spacious arena where there was a constant banging sound, Gia and Jenny's second brother were playing on the side, and somehow, they looked at each other. The four of them played 2vs2 on two fairways not far apart, and they had just been recognized and signed by other customers.

Jennifer asked a question, Alicia was also very concerned, and she was too excited to forget about it yesterday. The kiss scene between Rui and Gail in the woods was cut, and in the script, it was the scene before Gail went to visit Rui's mother in the house after arriving at Dolly's house.

Ye Wei threw out the bowling ball in his hand, watched it roll away and hit it with a bang, and couldn't help but clench his fists. Only then did she answer Jennifer, "Because it will ruin the atmosphere, you know, a little sexy......" Lily nodded approvingly.

"Will it go into the Director's Cut?" asked Jennifer again.

"That's already the Director's Cut. Ye Wei spread his hands, "I'm still thinking about whether to put it in the DVD shooting footage, what do you think?" Jennifer immediately said: "No!" Alicia nodded excitedly: "Okay, such a meaningful paragraph." He hesitated: "To benefit fans or to hoard as a Golden Fleece, I'll think about it again." ”

"You want to. Jennifer grabbed a red bowler and was ready to shoot their first ball of the third round. Ye Wei affected her state and said, "Jenny, there is something I haven't told you. She paused curiously, "What?" he sighed, "Dude was going to make a cameo appearance at Samp-Milton." She frowned: "And then ......"

Then I refused. Ye Wei said.

"Oh my God!!" Jennifer screamed frantically, jumping to her feet, "That's the Governor! Dude, the Governor!! "Damn! I could have played a rival game with the Governor!" she held up the bowling ball in her hand, "I really want to hit you with this thing now!"

"You think I don't want to, that's the Governor!" Ye Wei was also a little anxious, "But he is too famous and doesn't match our cast, so I can only regret it this time." Jennifer let out a long sigh and threw out the bowling ball with her mind, and the remaining 5 pins were on each side, and she immediately scolded silently.

"Hahaha!" Ye Wei laughed triumphantly, and stretched out his palm to Lily.

Lily was also amused, she could see that he and them were really nothing in the past two days, they felt different, they were both very nice and worthy of making friends.

Alicia took her second shot of the round seriously and knocked out three more pins. Jennifer was paying attention to Ye Wei and Lily's eyebrows, well, my heart was not so sour, it was just an illusion, and it should be completely fine in a few days.

That's good, good friends, good partners. If you can't act in "Juno", you can't act, let's play a movie directed by VIY!

"Hey! Jennifer was so excited that she didn't want to be idle anymore, but she also wanted to find the next opportunity to cover up a little bit of embarrassment in an arrogant tone: "You can shoot anything for your new project, as long as you ask me to act, my schedule, you have the right of first refusal." ”

"My schedule is too!" Alicia immediately followed when she heard it, she was still smart, and if she didn't hurry up to show her attitude, it might be gone, thinking about the internal competition, there were more than a dozen people.

Gia, who wasn't far away, pricked up her ears.

"Thank you. Ye Wei smiled, glanced at Lily, and announced: "There are no new projects for the time being, maybe I won't make movies for a long time." Yes, I'm going to take a break indefinitely, become a footballer, and aim to play in the Premier League next year. I'm serious. ”

Jennifer and Alicia were stunned, was this a joke?

Lily was smiling, two strange glances at her...... Why do you even want to look at me?

......

The W'sB premiere was covered by many entertainment media, and fans who were unable to attend the premiere and followed it checked the news everywhere, and saw old sayings such as "the audience responded enthusiastically" and "the applause lasted for 10 minutes", which is the case for almost all premieres, but the evaluation of the film critics and their own viewing experience are not necessarily the same.

Online media also reported Ye Wei's Twitter talk, some said that he was full of confidence, and some questioned his pretense, which was indispensable for the support of the secrets and the scolding of the blacks.

The list of nominees for the Golden Globe Awards on the 14th is about to be announced, in order to build momentum in advance, and there is no schedule conflict with any movies in the first week of the 15th, W'sB's film review release time is Monday the 11th. Two days after its premiere, followers around the globe were blown away by its Rotten Tomatoes freshness.

But the striking thing is not just one: after "Death of a Film Critic" closed its column, Ye Wei rewrote a long article in the Los Angeles Times movie section on Monday.

A self-written W'sB movie review!

The most jealous are the future girls of SS and TLB, and the most excited are the secrets, the film critics must be saying, you kid just talk about it, don't play like this......

["Winter Bones", ★★★★ Ye Wei, 2006-12-11

Don't wait stupidly, let's go to the feminist movie and poke radical feminism for a moment and see what can happen.

This independent film adapted from Daniel Woodrier's original book of the same name, produced, written and directed by bastard filmmaker Ye Wei, tells the story of Ray Dolly (Jennifer Lawrence) is a 16-year-old girl living in a poor mountainous area, she has two young brothers, her mother is mentally ill, and her father is engaged in a local family-style drug crime. He is on bail pending another charge, and the day of trial is approaching, but he is nowhere to be found. In order to keep the house that her father mortgaged to the bail money lending company, Rui is left alone to find her father, even if it is difficult, and she must find either her father or his bones to deal with the criminals.

"Winter's Bones" flows with blood that is different from the representative feminist films of the past. On the way to find his father, when Uncle Tears (John Harks), who is helping, walks into a bar and is about to fight with the hooligans, Rui's appearance prevents a violent outbreak. She doesn't use the killing spree as a solution to her problem, as the two 2003 films, "Kill Bill" and "The Devil Girl." Rui taught her two younger brothers to "try not to fight", a commonplace view of women that is not celebrated in feminist cinema, and violence against violence is haunted in the field, even in the classic "Flowers of the End" (1991), which has a warm and delicate female face.

Interestingly, when feminists see a film that reduces women to sexual objects, they are furious at the offense. But when a film "John Ramboizes" women, the offense goes unnoticed, and is even touted by radical feminism, as if only violence can show the power of women.

On the other hand, the absolutization of the ugliness of male characters, the solid alliances of female characters and even the manifestation of homosexual tendencies are another spectre of feminist cinema and are widely accepted. In fact, this is not fundamentally different from the rules set by anti-feminist films such as "Ordinary People" (1980, Oscar for Best Picture) - female characters are ugly and absolutistic, all roles are negative, and their feminist demands are to destroy the male spirit and plunge society into chaos.

None of these consciousness-form ghosts, which sing an ode to one gender by vilifying the opposite sex, appear in Winter's Bones, and Rui's father-seeking alliance includes men and women, who do not provide a clear distinction between positive and negative effects, but rather a complex of intertwined and intertwined complexes. In the film, there are men who inflict mental and cold persecution on Rui, and there are also women who inflict physical violence on Rui. This victim of living in a patriarchal society, who is helpless by traditional women and beaten by radical women, is a realistic feminist.

She manifests her feminine power in an ordinary, authentic feminine way, as does her good friend, Gail Loquelen (Aliciica Vikander), a teenage mother who married early. They are weak women in the mouth of radical women. This is fully demonstrated in the scene where Rui has to follow a group of female thugs who almost beat her to death to the pond to salvage her father's body, she is responsible for grabbing her father's hand, the whole person is crying in a stupor, and the female thugs are responsible for sawing with chainsaws, the whole process is like just picking teeth. Rui then gave her father's hands to the male police, and this kind of violence against male power was not the way she wanted to be a woman.

"Winter's Bones" gives us another option, a woman who is not a big-breasted, but also not a muscular tough guy or an unbeatable hero like the classic "Never Compromise" (2000). Rui finally accomplishes her heroic mission, but the way to win is to lose. The heroes here don't have that much ability, they are just ordinary people, humbly struggling in the quagmire of life, and they have already been defeated by reality or in the course of the story, and have been beaten into mud.

Rui's greatest ability is precisely her compromise, she doesn't want to know who her father's murderer is, she won't do anything for herself. Naturally, this loser hero didn't get the huge $333 million victory of the heroes of "No Compromise" in the end, and the crumpled bag of "compensation" she received was pitifully small, and it was just abandoned by bad people who didn't care. The bail bond loan company staff praised Rui Zhen for his ability, and Rui said, "Life is just forced." ”

If she hadn't suffered from this oppression of life, she would have been an ordinary high school girl in the city, dressing up, falling in love, gossiping, and college...... That's the youth Rui wants. This seems eye-catching, unsociable, and "unreal" in the feminist League of Legends. Do we want a screen hero or a real girl?

Another VIY film, Soul Surfer, also faced this problem, and it was unfairly criticized by many for being faithful to truth rather than stereotypical cinematic politics. The truth is that a tough woman is seen as real in feminist films (especially radical films), but when she gets to the miracle comeback genre of sports movies, she needs to struggle a little more darkly, or else she will be unreal. The so-called "real" often has different stereotypical requirements depending on the genre, which is the uninteresting thing about the movie, about consciousness-form.

Bethany and Ree's stories are very different, but their feminine strength is the same: feminine flexibility.

Gail said, "It's different when you're married. "Accept the changes in your life, rely on the faith in your heart and the responsibility on your shoulders, and move forward strongly. This seemingly traditional supple strength is mostly ignored by feminist films, and the unyielding power of resistance to the dilemma is overemphasized. For example, in "Crazy Flowers at the End", the two heroines drove off the cliff to commit suicide to fight for freedom, which is indeed a bloody and tearful indictment of a patriarchal society, a demonstration of women's courage and unyieldingness, and a shocking tragedy. But what kind of "fragility" and "fickleness" of women are shown by giving in and begging for mercy, changing and adapting, and then surviving in the cracks? This is a true return to the spirit of women.

I call them realistic feminists because cinema is a kind of escapism, but "Winter's Bones" confronts all the harsh realities. In addition to feminism, the poverty of the story's local area pervades the film and creates a fateful despair that will not be able to escape the predicament of his growth for generations. Often, stories of struggle will have a glimmer of light peeking through the slits in the worst case. But director Ye Wei, a bastard, has no such plan, the film does not have a soundtrack except for the ending song, and the tone of psychological pressure is seen in every shot, and the heavy expressions of the characters are seen from beginning to end.

The workings of this plain, documentary-like film are largely dependent on the powerful performances of the actors. I'm sure people will be excited years from now that it's the beginning of the birth of two great actresses, 16-year-old Lawrence and 18-year-old Vikander give a glimpse of their glorious future! And the other actors are also very good, and this is perhaps the best performance Hakes has ever performed. They rarely have a fierce interpretation in the film, and they are calm and restrained like the biting cold wind of the film.

Director Ye Wei uses a lot of landscape aerial shots to set off the atmosphere and metaphorical themes, just like the first wide-angle shot at the beginning:

An ant walks on a small dead branch in a dark forest, and it wants to find something to eat, but how many difficulties and dangers does it have to face? It may be blown away by a sudden wind, it may be drenched by a sudden rain, it may be trampled by a passing foot who does not even know its existence. It wants to get out of there, but it's too busy finding food for the day so it doesn't starve to death, every day. From its birth to its death, the invisible web of the forest has always enveloped it, and it is not even aware of the existence of the forest, let alone the world outside the forest.

This is the condition of Rui and Gail, as well as their brother and son. The difference is that they have just been defeated, and they desperately want to earn a glimmer of light from the future for the children who have not been completely defeated. The innate crisis, low social status, and miserable living conditions of the disadvantaged are all similar to the situation of women growing up in a patriarchal society, and how can mad violence and tragic suicide be achieved in order to dispel this darkness and be reborn?

The story of Baskin, a police officer in the film (who became a police officer after his sister's hard work) tells us that fighting in the dark with flexibility is a viable path. At the end of the film, Rui looks like she is bound to take this path. This is not an ending that the audience is willing to accept, the audience is forced by it to discover the sadness in their hearts, in fact, everyone knows what reality is, and it is sad because it is reality.

Rui said to her brother Harold, "Everyone here is a cousin," and indeed she could be anyone's cousin: everyone whose family has survived from the country, everyone has a mother, and maybe sisters, and you can see in them the shadow of Rui - her motherhood, her nature, her strength and her flexibility. They are realist feminists.

Take this phrase for this review:

"Winter's Bones" is one of the two best bones of the year, and the other is of course "Lovely Bones", which is also a VIY movie. 】