Please give me your review of "Qiu Ju's Lawsuit", a film review type.

When I first watched "Qiu Ju's Lawsuit", at the beginning of the plot, I made an arbitrary guess about the theme of the movie: seizing on China's repressive power structure in the 1990s, and using Qiu Ju's stubborn consciousness outlines the existing status of the common people, in order to fulfill the people's hope for "liberation" at the bottom of the political ivory tower.

In fact, when talking about history, there is a kind of ambiguity of time in it. Criticism and satire are based on memories and archives. The inaccessibility of the truth makes it difficult for the word "reactionary" to be attributed to the author. buckle. However, "Qiu Ju's Lawsuit" clearly grasped the current events at the time when the film was shot, and used the most controversial "Administrative Law" at that time, which marked the qualitative change of the democratic process, to make use of the existence of "people suing officials". Thousands of years of civil rights jokes have revolutionized the lives of "food and clothing parents" and responded to this heavyweight law with a joyful welcome. This is actually enough. Not every director has such courage and sense of responsibility.

However, the real show is not about "people suing officials".

While Qiu Ju keeps petitioning and backdating her rights, there is always a layer of conflict between her and the target of her "war", the real defendant in the lawsuit, the "village chief" based on the countryside and neighbors. , village-like nature and human sophistication. The village chief constantly resisted Qiu Ju's "request for apology", constantly embarrassed Qiu Ju, and even insulted her. However, he never stopped Qiu Ju's petition, and never used bribery or other means in the hope that Qiu Ju's punishment could be reduced after she successfully appealed. and compensation. Qiu Ju and her husband always called him the village chief respectfully, and sometimes showed a sense of closeness to the village chief during the negotiation and justification process. However, the two sides have been in a stalemate on the issue of "whether to apologize or not." Full of gunpowder. They can freely switch between "harmony" and "confrontation" with completely opposite attitudes. This "war" appears to be a blur of hostility, and the relationship between the enemy and ourselves is different.

What leads to this cognitive split is actually the common "human feelings and face". In the essence of Chinese culture, "human feelings and face" are at the core. Daily interpersonal operations and calculations of interests are embedded in the relationships created by "human feelings and face". The Chinese people’s “ethical tendency” is best preserved in rural areas, and it is the best starting point for reflecting on the national spirit and national temperament. Because he wanted to save face, the village chief refused to apologize even though he knew he was wrong; because he wanted to save face, Qiu Ju's arguments seemed weak.

On the surface, Qiu Ju has a subjective awareness of the word "rights" that surpasses that of ordinary villagers, but more importantly, Qiu Ju is just starting from personal dignity and the purpose is just to vent her anger. The understanding of rights is limited to “impermissible by nature” rather than legalized. In the movie, the Administrative Law that supports "citizens suing officials" has just been promulgated, and the institutional aspects have been initially put in place. However, over the thousands of years of feudalism and decades of collectivism, the edges have been worn away, leaving only Can ordinary rural people who know how to obey and convert understand the purpose of this "law"? Obviously, no. The "Administrative Law" to combat "rights persecution" is only precise in words, but does not have practical significance. If the person who should hold the weapon doesn't know how to handle it, can the barrel of this gun be made stronger?

Qiu Ju finally entered the judicial process half-heartedly. According to regulations, the Municipal Public Security Bureau should be the first to become the defendant, and the Public Security Bureau Chief as its legal representative should appear in court awaiting trial. This is hard to harm Qiu Ju, or in other words, it scares Qiu Ju. Throughout the appeal process, the police chief played the role of a good guy and kept helping her. He even gave Qiu Ju a ride in a car (this was a great honor in the eyes of rural people at the time). However, now, the chief of public security is the first to be beaten. This is completely beyond Qiu Ju's understanding of the whole incident, and has become a fantasy for Qiu Ju. She murmured: "I am suing the village chief, not the bureau chief. The bureau chief appears in court, but I just won't go." This is the truest voice of a peasant woman. For conservative Chinese people, this is the truth. For a nation that needs to be awakened, this seems too helpless.

Towards the end of the film, Qiu Ju was about to give birth and unfortunately encountered dystocia. Her family and midwife were helpless and had to find a way to send her to the county hospital. It was New Year's Eve, the 30th of the Lunar New Year, and all the villagers went to the neighboring villages to watch a play. To send people to the county town, they had to rely on people to travel, but where could they find helpers? According to ordinary right and wrong logic, the village chief who happened to be away from the theater would never be the target of Qiu Ju's family's request. However, we see that the person involved decided to plead with the village chief without hesitation, and relied on the village chief's authority to win over a few more people. Complete this errand together. Of course, there was drama on the part of the village chief. First, he mocked Qiu Ju's family with unpleasant words, but then he rode his bicycle in the cold wind to find someone in the neighboring village. Such a village chief is real, he has complaints, but he is not hard-hearted; he has grievances, but he still acts according to human feelings.

Qiu Ju’s mother and son were safe. The child was one month old and a banquet was held. Everyone was already seated at the table, but the village chief was still nowhere to be seen. He had been invited many times by Qiu Ju’s family before he agreed to come. The village chief's wife said: "He is still washing and shaving at home, just like a festival." The details of the village chief's behavior fully illustrate the importance he attaches to his child's full moon and his respect for Qiu Ju's family's banquet. At the same time, he also wants to Take this opportunity to calm down the fight between the two families. Everyone was waiting for the arrival of the village chief. The most dramatic scene occurred: before the village chief even left the house, he was arrested by the Municipal Public Security Bureau and placed in a police car for intentional injury. He was detained for 15 days in accordance with the law. When Qiuxiang heard this, she became confused and rushed towards the village chief's house. But when she heard the siren and looked at the empty road, she only had a confused look on her face: "I just want an explanation. Didn't you say that you want the public security bureau to arrest you?"

At this point, it's fun. The performance finally came to an end. "Qiu Ju's Lawsuit" is radical, but radicalism is not its purpose. It goes deeper than political meaning and enters into the essence of national culture. This is not just responding to and considering the times, but also Reflect and interrogate history. The real drama is here. The entanglement of favors, face, rights, and power is the most common social drama in the 1990s and even now. It is gratifying that the upper levels of the country have some legal guidance, but there is a huge cultural gap in people's acceptance. The obstacles faced by the construction of citizens come from both the system and the unformed citizens themselves. This is a contradiction between system and culture, and it is also a tragic dialectic of a nation itself.