didn't choose a "blockbuster", it's not that Wu Yuan doesn't like to make blockbusters, but it's really not suitable at this stage.

To be honest, there are really no real blockbusters in the mainland market.

It's funny to say that in the mainland film market in the first decade of the 21st century, blockbusters are emerging in an endless stream, starting from Zhang Yimou's "Hero", there are epic masterpieces of historical power plots with an investment of hundreds of millions every year, and the big scenes are leveraged.

But after 2010, the outbreak of the mainland market also pointed out a big way for mainland film practitioners to make money.

That's comedy movies and youth films.

Movies of these two themes are low-cost, short-term production cycles, but high-income themes.

In recent years, the vast majority of box office dark horses and big-money movies are comedies and youth films.

And those movies under the banner of 3D blockbusters, such as "The Legend of the White Snake" and "Dragon Gate Flying Armor" and other movies, although they have also made money in terms of box office results, the profits are higher than no comedies at all.

As a result, investors voted with their feet, a large number of comedy, youth films, and comedy romance films were set up for shooting, and it was difficult to attract investment in Chinese-language blockbuster projects, and the number of them dropped sharply.

Especially after "Thirty-three Days of Broken Love" swept the country again, investors from all walks of life are even more superstitious about the magic of romantic comedies.

In 2013, only one real blockbuster was released, that is, Xu Ke's "Di Renjie's Divine Dragon King", and he is still insisting on making magic movies.

The fantasy and fantasy themes are also the only blockbuster themes in China that are still strong.

As for Xing Ye's "Journey to the West: Conquering Demons", strictly speaking, this is a gray comedy, although there is also a big scene of the demon king Sun Wukong fighting the demon and the Buddha in the second half of the movie, which is not lost to the special effects blockbuster of Hollywood, but the main tone of this movie is still comedy.

And its style is still a fantasy and fantasy genre film.

But the embarrassing thing is that there will be no blockbusters with good box office results in the mainland in the next few years.

Whether it is "To Youth" or "Beijing Meets Seattle", or "After the End" and "The Breakup Master", they are not blockbusters.

There are even variety movies like "Where Are You Going, Dad", which got a box office of 695 million.

throws variety shows directly on the screen, Mango Channel relies on the courage of the artist.

What's even more terrifying is that people have done it, dominating the Spring Festival stalls and winning nearly 700 million box office.

The mainland film market in the next few years will be impetuous, crazy, and exaggerated beyond common sense.

In this case, it is impossible for Wu Yuan to make a blockbuster like "The Wandering Earth", the risk is too high, and the stimulation of the market is not very good.

He hopes to make a deep and meaningful movie, which can cool down and dry mainland fans when the domestic movie "Dancing with Demons".

So in Let's Wrestle! When "Dad" and "I Am Not the God of Medicine" were temporarily unable to be filmed, he set his sights on the two movies "Dear" and "Orphaned".

First of all, the main characters and stories of "Dear" are born from the real "abduction" incident.

Secondly, this kind of parent-child theme itself is a "tear jerker".

In the end, the family who lost the child was in pain, and when the child was rescued, the family who later adopted the child also suffered the pain of losing the child.

This is the unknown world that the film wants to show the audience in addition to "fighting abduction".

Once trafficking occurs, no one will be hurt or suffer from the loss of the child, regardless of whether the family who eventually lost the child can recover the child.

In the movie, the audience follows Huang Bo all the way to accumulate the pain of losing the child and the hatred of the trafficker, but at this moment, it is reversed by the "stepmother" who also loves the child deeply and is in pain because she is unwilling to be separated from the child.

What seems to be the solution of one tragedy becomes the beginning of another.

It's just that "Dear" is trying to please the audience from beginning to end, trying its best to sensationalize in the hope that the audience will burst into tears.

Such an overly forceful screenwriter makes this movie more like a TV series.

Whether it is Huang Bo and Hao Lei, who are looking for their children everywhere, or the village woman who secretly takes their eldest child, or Zhang Yi, a child-looking man who is full of stories, they all have a lot of stories and their own helplessness, and the characters are constantly reversed and reversed.

The two-hour story is stuffed with too many conflicts and contradictions between family and blood, so that several protagonists have to weaken their plots and accommodate the overall story development, which makes the characters that could have been plump become a little distorted.

The audience hasn't had a deep enough understanding of these characters, so sensational dramas and emotional explosion scenes have been staged one after another, so that many audiences can't resonate and integrate, and the emotions that should have exploded can't be directly transmitted.

In this regard, another "Orphaned" with a similar theme is handled very well.

Compared with the storytelling of "Dear", the focus of "Orphaned" is to write about people.

Through the search for the father of the child and the child of both parents, the tragedy of child trafficking on the fate of both the parents who lost the child and the child who was trafficked is depicted.

The story of this film is not complicated, and it can be summed up in eight words: lost orphans - looking for orphans - meeting orphans - becoming orphans.

"Orphaned" does not exaggerate the suffering of the protagonist Liu Dehua, but uses a map, a motorcycle that is about to be scrapped, and the dark and chapped skin wrapped in ragged clothes to let the audience understand the road he has traveled and the hardships he has endured in the past 15 years to find his son.

I have to admit that female directors are indeed much better than male directors in terms of delicate feelings and control of film details.

But the director of "Orphaned" Peng Sanyuan's control of the plot of the movie is not as good as "Dear".

The characters and story framework of "Orphaned" are composed of three clues, but unfortunately the overall structure of the three clues is not well grasped in the whole movie, and there is a feeling of complete disconnection between the front and back.

"Orphaned" is more like an essay or a poem.

Scattered and scattered, although beautiful, it can't make up a complete story.

Every single scene is either picturesque or simple, Liu Dehua has been looking for a child for 15 years, and he has always been on the road after suffering heavy blows, and he constantly encounters well-wishers to help, but he lacks a central breaking point, just relying on good people and good deeds, the story seems loose and not catchy.

The lyrical and symbolic empty shots that are out of rhythm throughout the film make the whole film seem messy and incoherent in narration, but the result is that it dissolves the cruelty and fails to ignite the audience, becoming an embarrassing work that does not rely on both ends.

It can be said that "Dear" and "Orphaned" have their own advantages and disadvantages.

Both movies have obvious advantages but also obvious disadvantages, so the box office of these two movies is around four or five billion, and the reputation is also mixed.

But coincidentally, the advantages of these two movies happen to complement each other, if the advantages of these two movies are fused, the shortcomings are eliminated, and integrated into one movie, it will definitely present a great "abduction" movie! (End of chapter)