Why do you feel embarrassed about the newly released movie "Moon Man" by Twist FunAge? What's the problem?

First, the narrative system of the film is relatively complete, but most of the funny elements are not deeply integrated with the theme expression. In this regard, the prelude has some very good places, such as Duguyue's imaginary confession and missing the launch of the return capsule, such as Duguyue's efforts to run wildly but ultimately failed. And we can also see some more potential parts. For example, in the paragraph that portrays a pseudo-hero Duguyue, the conflict between "fictional dubbing" and "real wretched man Duguyue" in lines and behaviors can be completely increased, which is very funny and shows that falsehood is impossible. However, the existence of commentary and dubbing has basically not been effectively applied, and it is just a background board for "live broadcast to human beings". Most jokes come from the kind of "fragmented paragraphs" that Twist is good at. Even in the well-done prelude, there is a joke that "two astronauts' necks are stiff, so they can't see the empty seat of Duguyue", which only plays an instant role. After that, for example, making fun of Li Chengru and Z.TAO's bald heads, playing with some homophonic stalks, making the actors make a fool of themselves and so on.

Second, this funny way has little to do with the theme expression. After the Twist team expressed their ambitions this time, it was even more abrupt than before. This time, the Twist team turned to comics for adaptation, which can be regarded as avoiding their own consistent film creation problems, but the funny way is their own fragmented sketches, which leads to incompatibility between the two. Usually, the story of a twist film is paragraph by paragraph, and the paragraphs are also paragraph by paragraph, so as to achieve a harmony in the rhythm of the viewing experience and keep the audience in sync with "telling short stories and watching paragraphs in paragraphs". But this time, the audience is going down with the story layer by layer, but the comedy is still independent, and it can only act at that moment, more like "tickling", rather than connecting back and forth like the story. At this point, the audience immersed in the narrative will feel that the humorous moment is abrupt and has nothing to do with the overall plot, and this feeling will become more and more obvious with the deepening of the narrative stage in the second half.

Thirdly, the excessive accumulation of jokes also seriously occupies the narrative space of the text, which greatly weakens the expression effect. In the background setting, we can see the origin of Du Guyue, a "middleman" who escapes from reality and hides in fantasy to make himself get by: there are no relatives and friends, and there are too few positive factors in real life. The language that specifically addresses the earth as "mother" is consistent with the tone of "mother earth", but it also unifies "yearning for human civilization on the earth", "symbolizing Ma Lanxing's love for the earth" and "inner self-isolation and fear of real harm caused by family loss" to a certain extent. But this can only be mentioned in the climax of his death, which is totally unconvincing. In the face of the "truth" that "there is no one on earth", Duguyue's despair is too short, and she can't express the message that "she can't hide in fantasy all the time".

Moreover, his love with Ma Lanxing, as the presentation of the above content, also has the wrong cognition of "mistakenly thinking that Ma Lanxing didn't see himself", which makes their relationship stand the test of "real influence". If the interaction between two people is more detailed, so that Ma Lanxing can understand the truth alone, his enthusiasm for Du Gu Yue will be more hesitant and self-blaming, and Du Gu Yue will experience a little shake after learning the truth. Finally, Du Guyue will say with a smile that "you should do this" is more powerful. As an important aspect of the theme expression of love development, this film should have a more detailed stage display. For example, in the lonely moon, she experienced the initial "not directly facing the real Ma Lanxing", but directly getting along with Ma Lanxing and having the "true love" recognized by everyone, but she noticed from Ma Lanxing's flashing regret and guilt that from a little avoidance to the final acceptance, the hero sublimation of "embracing the real pain" would be more natural. At the same time, it will inevitably extract the love interaction between two people and make the emotional occurrence between them more credible.

Du Guyue's psychological state at each stage was not shown in detail, so the love Ma Lanxing got from him, combined with her limited open communication, was more just "watching and accepting" and was completely expressionless. Ma Lanxing's emotional expression of Du Gu Yue is too short, lacking the unfolding process, and the "result" is too rigid. At the same time, the background of Duguyue is not reflected in the details of his behavior, and the transformation of characters is also relatively blunt. The reasons for all this and the side effects brought by "fragmented jokes" can not be ignored.

Furthermore, the whole human group behind Ma Lanxing has the same problem. They got hope from Du Gu Yue, but because there were not many performances, their appearances were often accompanied by "simple watching" and their reactions were relatively simple. They are happy when they see hope, and depressed when they see hope disappear. However, as the film evolves, there may be more possibilities for their reaction. Because of despair, my brother can't answer the question about "green saplings" The idol also took off his headgear, the senior fitter sealed his fingers, and another man tried to commit suicide. Because they saw the vain hope of "People's Hero Lonely Moon", they were stimulated for a while; Because Ma Lanxing punctured the lie of the protagonist Du Guyue, they fell into despair again; Because of the final rise of Duguyue, they returned to real hope.

Even among human groups, there is actually a corresponding factor: at first, they took "the lonely moon returning to the earth" as their hope and motivation, and the core was "living in such a harsh environment". In the end, Duguyue failed to return to the earth, but became a hero who died for mankind, which made them abandon the concept of "just living" and no longer live underground. In the film, the sky turns blue after Duguyue saves the earth, and at the end, the reconstruction of human civilization on the ground seems to convey the promotion of this "non-civilian heroic spirit", which also corresponds to Duguyue's "soul" of welcoming astronauts on the moon. However, human groups are completely "audience-oriented" in many cases, which makes their own emotional expression not rich enough, and they can only mechanically make simple reactions of "hope, happiness, hopelessness and depression". None of this is possible.

Fourth, some of the usual handling methods of the Twist team are thrown out stiffly, such as the appearance of Gangzi, the family of Duguyue and his love for Ma Lanxing, which are relatively simple and straightforward, with strong functional orientation and unnatural narrative advancement. In addition, more importantly, as an upgrade from a civilian to a hero, Du Guyue went from "failure to choose to go home to save his life" at the beginning to "lay down his life to save people" at the end-in fact, the choice he faced was far from extreme, and he did not "go home to save people". Therefore, in the final choice, Du Guyue actually didn't get the option of "saving his life", and his active sacrifice was weakened, which can't be compared with the "failure/success after saving his life" as a civilian.