Why does such a simple plot, newcomers, and not fancy films win the love of many people? There is a netizen called "Tu Bin Ren Carriers": "This is an era when the second child is the second grandmother. I think this film is not only in line with cultural consumption psychology, but also grasps the inherent needs of human nature: purity is beautiful, everyone needs pure.
The taste of father's love -Director Takada Okiro "The thing I didn't say" (below)
This can not help remind people of the old father who waited for the prodigal son to return home day and night in the Bible. Although the prodigal son greedy for money and freedom, he had to enjoy joy and romance from afar, but once he spent money, lived a poor life. Then I knew the warmth and beauty of my father's house. He wanted to go home but had no face to go back. He hesitated, wandering and hovering. But where did he know that his father no longer cared about his absurdity, and he looked at him home and let him return to his old days. In fact, this loving father metaphorically is our heavenly father, and we are the travelers who are drifting outside and do not want to go home. Heavenly Father is looking forward to all the travelers in the world plead guilty, repent, look back, return home, share heaven, and spend good time together.
The taste of father's love -Director Takada Okiro "The thing I didn't say" (Part 1)
This is the story of a family and a personal story. A family of eight generations of crystal cake snack shops that inherit the eight generations of Crystal cake snack shops in Baoshan, Yunnan, are well -known for their unique fragrance and quality, which makes people praise. However, this shop owner has maintained such a mysterious rules: Tong Shunxiang only opens one, there is no branch; only two boxes are sold every day, not selling more; the customer is limited to buy one piece. ; Only men are not passed on to women ... In the seventh -generation descendant Liu Tingshen, he simply passed on, that is, his son did not teach the ancestral secret recipe.
Zhang Yimou's "Thousands of Miles" explores the communication of people. Even between father and son, there is huge obstacles in communication. Mr. Takada must go through the trip to Lijiang to enter the world of his son Jianyi. In his contact and collision with Li Jiamin, he also felt the affection of the Chinese farmers' calves. When a person really faces himself, he can deeply understand others; when Mr. Takata reflect his father's love on Yang Yang, this love is also equivalent to being on his son: it is because he is closely tightly tightly. At the moment of Yang Yang, his son Jian left the world with his understanding of him.
In the past movies, individuals are typical and representatives, and real personalities are often intended to go, which is even more prominent in the fourth -generation director's works. The awareness of the fifth -generation director's roots allows them to pay attention to the original vitality of the Chinese nation, so they prefer to render perceptual. The lively and noisy of "Big Cars" in "Red Sorghum" and "Sister You Bold Mether" and the vastness in Mai Tian are a passionate song of passion. In the 1990s, the sixth -generation director's representative, we clearly see that the emotional publicity changes to the individual's silent attention, especially the human dignity of each individual carefully respects and guards each individual.
The only pursuit of Japanese staff is to make themselves more skilled. At the same time, they are confident in their own skills, resisting all jobs for making money and efficient, and resisting to violate their will and compromise. work. Once you accept the work, you are determined to ignore the interests, and the essence of your technical essence will be completed.
Matsuo Banana: "The change of Qiankun is the source of the wind. The posture of still things remains unchanged, and the animal's posture often changes. Time flows and fleeting. The so -called retaining is to keep what people and hes and hears. If you don't grasp the moment of fluttering, you will return to death, make the living matter becoming dead, and disappear. "
"The Tale of Genji," which appeared in the 9th century and was written by Murasaki Shikibu, describes the birth of Hikaru Genji and his rise to glory. It portrays the contradictions among the nobility, as well as the joys and sorrows of the noble class, providing readers with the opportunity to glimpse the customs and elegant culture of the Heian period.
During this period, film artists' reflection on China no longer confined itself to the political level, but delved into the cultural level. They not only had to consider China's political destiny, but also explore the cultural future of China. They were no longer satisfied with singing the praises of universal humanity, but sought to find the strength of national survival. The fifth generation directors emerged in the midst of various trends, embodying more contradictions and struggles in them. Their pursuit of the sacred was also more complex and difficult. Chen Kaige's "Yellow Earth" (1984), "Farewell My Concubine", Zhang Yimou's "Red Sorghum", "Raise the Red Lantern", Xie Fei's "Black Snow" (1995), and others are representative works of this period.
Zhang Nuanxin explained the poetic style of "Youth Festival" by saying, "My perspective on life is probably related to the idealistic education I have received for many years. I always want to discover love, beauty, and kindness in the midst of harshness." Wu Yigong also conveys a "faint sorrow, deep longing" in "Old Tales of South of the City," creating a strong poetic atmosphere.