What do you think of the film I am not Pan Jinlian?

Although the response of the audience and the media to the film on the Internet is not amazing, Pan Jinlian began to win various awards in July this year. The performance at major film festivals at home and abroad can be described as quite impressive. It has won the Best Film "Golden Shell" Award at the 64th San Sebastian International Film Festival, the "Special Exhibition Unit" Award at the 41st Toronto International Film Festival, and many nominations at the 53rd Taiwan Golden Horse Award, which are enough to show the real strength of the film.

3: Look at the content

There are two lines in "I'm not Pan Jinlian", one is Li Xuelian, and the other is the 28 men drawn by her. Many people say that Li Xuelian is just a symbol and an introduction, and the "official appearances" of 28 men are the main theme, but I think the information in it is far more than that thin. Li Xuelian and 28 men are worth talking about.

if you want to understand a thing and a person, you must first live his life and live in his home. Xiaogang Feng put up a banner and put the characters in the most acute contradiction in China, such as the imbalance of interpersonal relationship in rural areas, the indifference and selfishness between China politics and China officialdom and human society. The absurdity of countless collisions has made every China person experience the chilling sound in laughter.

1. Ethical Crisis and Social Relations in "Bad Villages" "Whether Li Xuelian is Pan Jinlian or not is much more true than divorce"

"Qin Yuhe said this in public again, and it will spread all over the county the next day"

Pan Jinlian is set in Wuyuan, Jiangxi Province, a secluded and congested water town, with a group of villagers living in a corner and neighbors.

Fei Xiaotong mentioned "rural nature" in "Rural China", and the self-sufficient mode of production and relatively closed lifestyle have formed their own patriarchal relations and social principles. He believes that in the process of the rural society entering the modern era, the lifestyle has generated abuses everywhere, and the modern society composed of strangers cannot cope with the customs of the rural society.

the vision and pattern of small local people will be limited to a certain extent. The evolution of the times and the distortion of urban-rural relations have brought them identity crisis and ethical doubts, and the fear effect on ethics is far greater than the mandatory effect of law. "People talk" and paranoid ethics can sometimes kill people.

Li Xuelian is an ordinary peasant woman in a typical rural community in China. The director constantly adds such deep-rooted ethics and community thinking when expanding the plot, shaping characters and designing dialogues. At first, Li Xuelian just wanted Qin Yuhe to admit the truth of the divorce. Later, he was said to be "Pan Jinlian" in public, which was equivalent to ruining this woman. The narrator said, "Is Li Xuelian Pan Jinlian, which is much more true than the divorce?" This directly led to Li Xuelian's extreme thoughts of killing her husband, complaining for ten years, and finally seeking death.

2. The suppression and extension of feminism

"Were you a virgin when you married me?"

"If I don't complain, they really think I'm dead."

Traditional patriarchal beliefs and moral paranoia suppress women, and Li Xuelian in Pan Jinlian's interpretation of feminism before and after the film (around ten years) is completely opposite. It seems that Li Xuelian has always been indomitable against the powerful society, but it fails to see the root cause of this situation, that is, the fundamental recognition of another kind of coercive oppression.

"Were you a virgin when you married me?" Women's chastity is the obsession of male domination. ? "Your name is Li Xuelian, why do I think you are Pan Jinlian?" Qin Yuhe's words decided Li Xuelian's humiliating life, until the end of the film learned that Qin Yuhe's death was the biggest blow to her, and she was still entangled in the node of "never telling who she was". Overjudge a woman with a fixed concept of chastity, not only men, but also most women.

The second half shows the extension of feminism:

But Pan Jinlian's discussion of women's rights, especially the relationship between men and women, does not stop there. In the second half of the film, men's rights reversed, and all men began to be afraid of Li Xuelian. In order to keep their "jobs", they were timid, cheated and tried their best to make thousands of gaffes, but the weak woman, Xuelian, said, "If I don't complain, they really think I'm dead." Her heart gradually became calm, strong and soft.

At the end, a few years later, with warm yellow tones and soft sunshine, Li Xuelian opened a big restaurant, hired a young man as a waiter, and dealt with all kinds of male and female diners in a sophisticated way, just like a restaurant owner. When he met Shi Weimin, the former county magistrate, he was able to let bygones be bygones, entertain him warmly, and finally told the truth: the fake divorce was to have one more child.

At this point, the role of Li Xuelian has been sublimated. A woman with deep-rooted peasant thoughts has experienced the changes in the world, put down the greatest humiliation in her life, and lived a good life. This is her victory, and it also symbolizes the rise of women's ideological trend.

3. The absurd shift and the collapse of dualism throughout "I just listened to the cow."

"Zheng county magistrate, the search scope has been expanded from our county to three neighboring counties ... all of them have controlled our police force"

Absurdity transfer

Ten years ago, Li Xuelian was accused of unreasonable "fake divorce" from bottom to top, and she was the core of absurdity; Ten years later, governments at all levels begged each other from top to bottom for fear that Li Xuelian would complain. From Wang Gongdao, the president of the court, to Ma Wenbin, the mayor, they all moved with emotion and coaxed with each other. At last, the whole city was on alert and besieged. At this time, officialdom and officials were the core of absurdity.

Absurd transfer and diffusion, the plague generally infects everyone, and the tossing and turning is like a farce. Coincidentally, it seems that no one is forced and no one is unreasonable. Why? The core of these contradictions seems to be insoluble.

Mr. Liu Zhenyun once said this: What you write is not what you know, but what you don't understand.

The film is just a show, and further thinking and discussion need the audience and the creator to do it together.

Dualism collapses

The county magistrate and the public security department stayed up for two days and two nights to prevent Li Xuelian from complaining in Beijing. As long as Li Xuelian is prevented from entering Beijing, the President Jia Congming can get a promotion, and the son of Zhao Datou can solve his job. Is the demonized Li Xuelian big or small? Bureaucracy seems to speak for "rules", ranging from clear hierarchy and strict laws to the uniform pouring of water by waiters at people's congresses. Now, for the sake of a Li Xuelian, the county is on alert and the police are used. Is this a rule or an irregularity?

Big and small, true and false, rules and absurdity, pride and lowliness, all extreme definitions are confused, big and small, small and big, true and false, false and true, no one is right or wrong.

The order is teased, the absurd performance shifts, and the dualism of western philosophy collapses, making the whole movie a "joke".

The appearance of magical banter is wrapped in helplessness and despair. Black humor dilutes political sensitivity, exposes selfishness and good and evil of human nature, and is like a hand in the dark, testing the bottom line of this society and people. Liu Zhenyun once agreed that his novel is a "bottom line novel", and he said: "Generally speaking, humor can't go up. Exploring this bottom line, you will find that all tragedies in the world are comedies; All comedies, if you carefully analyze them, must have a sad component. "

4. Chinese people's habit-"detour"

"Go to court first to prove that this divorce is false, then marry this beast again, and then divorce."

"Everyone knows the nature of the Li Xuelian problem, but why does it go wrong again and again?"

From the narrative point of view, the plot and dialogue of Pan Jinlian are entangled in some cases, and the simple problem is complicated and magnified. At the beginning of the film, Li Xuelian tells Judge Wang Gongzheng that she divorced her ex-husband Qin Yuhe before, and now she wants to remarry and divorce again. A conversation doomed everything to be "bypassed" next. In the second half, Mayor Ma said, "Everyone knows the nature of the Li Xuelian problem, but why it goes wrong again and again." This sentence also tells the truth behind the whole thing. This kind of "detour" is not intentional, but comes from life. On the one hand, China people love "detour", on the other hand, the "detour" between officials and civilians is not on the same channel, that is, adding "detour" to "detour", which is probably one of the reasons why the petition road in China is struggling today.

Liu Zhenyun magnified "around" to almost absurdity, and showed it on the screen. When Li Xuelian put her appearance in front of Shi Weimin, the county magistrate, Snow Lotus was clear, and the county magistrate was confused, even bored but helpless.

Officials at all levels are frowning, complaining that they can't explain clearly with a "woman's family".

after a series of detours, Li Xuelian said, "I won't sue this year because I listened to the cow." It was simple and clear, but no one believed it. Finally, officials cut the gordian knot with Qin Yuhe's death, and the shrewd ruling class finally used the simplest and rudest way, and finally breathed a sigh of relief.

All this reminds people of the title of the third chapter in the original novel: Playing!

four: Look, making

grand content has not reduced the limelight of production. The sound and painting design of Pan Jinlian can be said to have worked hard, and the director's ambition can be seen.

1. The director incarnates as a storyteller

If you want to say the finishing touch, it must be Xiaogang Feng as the narrator. The introduction of characters' life and situation, the expression of inner drama, the process of name symbolization, the prompt of time transition and the final explanation of behavior motivation are all completed by narration.

This kind of common omniscient film perspective uses storytelling in Song Dynasty to make the director incarnate as a storyteller. On the one hand, the hoarse voice is separated from the emotion by matching the fresh and elegant landscape garden of Song Dynasty, on the other hand, it directly interprets the emotional theme of the film, that is, "the sadness of comedy".

The objective statement, with its eloquence, adds a bit of coldness and restraint, and the tone of seeing through the warmth and coldness of the world is quite similar to the life of the protagonist Li Xuelian. The outsider-style narration reflects the loneliness that is not understood.

2. Switching between multiple frames

Pan Jinlian * * uses three frames, the ending is 1: 1.85, the Beijing part is 1: 1, and the Li Xuelian hometown part uses the late round mask, that is, the round frame. The composition is still complete and adds more visual experience.

Feng Dao once said that circular painting is just for fun, so let's call it "coincidence" for the time being because of the natural literati painting temperament. ?

The visual texture of circular frame is the first to stimulate people's aesthetic association. The dense beauty and special circular composition of Wuyuan, a water town in Jiangxi Province form a dough fan and window lattice, and the meaning of genre painting is vividly displayed.

Li Xuelian is wearing a hat, his eyes are blurred, and his random framing is a portrait of a person who will last forever.

A pinhole-like "snooping" perspective not only shows modern social customs but also satisfies the pleasure of special people.

Although it is a three-frame conversion, it doesn't play at all, and it is connected by beautiful and ingenious transitions, and it doesn't even feel the change.

Knowing that Jun affirmed that Feng Dao's Pan Jinlian is a rare film with a good conscience, with pioneering content and technology, which triggered a new development space for China films. All these bold attempts and breakthroughs can be based on a film ontology with artistic and commercial elements going hand in hand, and the rhythm is appropriate and meaningful, which is really not easy. I don't know why it is necessary to use "cursing war" to get to the forefront of the topic.

Although the marketing goal has been achieved, Zhi Zhijun still wants to say that Feng's letter to Wang Jianlin is really not clever, which won the eye and lost the word of mouth. The network and the market are tolerant of the spirit of an excellent director, but this tolerance must be limited.

From the comments of netizens in Weibo, it is not difficult to find that the attitude of most "people who eat melons"

including some authoritative WeChat official account

has many ways to get attention. Whether out of anger or otherwise, as a public figure, it is always risky to speak in a disgusting tone. It is not worth the loss when the audience hates a good film because they hate the director.

The vitality of a movie is indispensable to a sophisticated production and an intelligent director. If the audience likes it, they will naturally pay attention, won't they?

reference source: covricuc?