History is a piece of words, but it is also a plethora of enthusiasm; each person is close to each other, but in order to seek knowledge, it is also worth remembering. As we grow older, we feel that history is getting more and more fragrant, because history is mostly non-fiction, even more ridiculous than fiction. When you are close to people, there will always be a moment of unforgettable moments. Recording and narration, reappearing, and the taste of life that is both familiar and unfamiliar enough to make future generations feel invisible. The helplessness of the small people in the turbulent times of the big era, the love and hate of the high and low-ranking people, all the way to talk about the big screen goodbye; the turbulent and magnificent, or the nameless abandonment of the world, the chisel is especially deep. There was "Golden Age" before, and later "When is the moon", all from the director of Xu Anhua. "Golden Age" is about the soft and embarrassing emotional entanglement of the talented woman Xiao Hong, and her twists and turns in the war. In order to avoid the disappearance of culture in the war, the ordinary or noble past, Enron has witnessed. "When a few months of the moon" is the highest state of the spirit of the times, the precious cultural blood depends on the authentic people; under the moonlight, I am astonished. Heavy and dragging forward, the will involuntarily stayed in the fall of Hong Kong; the decisive and indifferent of the benevolent people is the documentary of "Most of the Moon" on youth and life. At the end of 1941, Hong Kong fell, and the Japanese invaded Hong Kong in mad looting. They searched for cultural figures stranded in Hong Kong and forced them to cooperate. The Hong Kong Dongjiang guerrillas received instructions from their superiors to rescue the cultural figures in Hong Kong and Kowloon. The sacrifices such as gun battles, street fighting, bombing and smoke were endless. In the three years and eight months of mourning, a group of licorice characters defended. Hong Kong and the ferocious Japanese army fight, dedication and deduction. The children’s personal feelings placed in the troubled times are equally tormenting. Inheriting the "Golden Age", "When the Moon is a Time" begins with the face of the legendary female "Prime School Teacher Fang Lan", and then creates the enthusiasm of the two-year special agent Li Jinrong and Liu Hezi of the short-gun team. The thrilling and unrequited heart of each line is full of sorrows, and at the same time, the path of suffering is a strange path that outlines the three people's vivid appearance. When is the moon? Ask the wine to ask the sky. I don’t know what the palace is, but what year is it. Taken from the fascinating singer of Su Dongpo, the fascinating singer of the water, and the direct question: "When is the moon?", not only the desire of the crowd in the turbulent times, but also the squad between Li Jinrong and the Japanese officers. "," the argument of "he". It seems that Pingyin calls the word to choose, but also listens to the thunder in silence, trying to reflect the inner monologue of the Hong Kong people in the enemy. People who are unable to sleep because of their enthusiasm, whether they are full of enthusiasm, should they be like each other, or if they are chilling? Good poetry and good words, into the title and into the soul, to see the "Ming" film Gao Ming. Love is a must, throwing a patriotic sentiment of blood and blood, there is still tenderness like water. In the last sentence, "I hope that people will last forever, and they will have a thousand miles." The love between Fang Lan and Li Jinrong is depicted in a few moments. Looking at the moon and night, thinking of the distant people, only those who are willing to miss, can last for a long time, no disaster and no disease; even if it is impossible to reunite, send a heart away from thousands of miles away, and enjoy this round of bright moon, so that it is easy to hope. When I look back at the red dust, there are lovers who hate the night, and the whole night is deeper. The poetry of "The Moon is a few times" is overflowing in the lines. Perhaps first-time, "When the moon is a little", the viewer will give the viewer a sizzling day, his wife's ion and the bloody anti-Japanese scene. But in reality, the protagonist’s daughter-in-law takes the lead in rescuing the literati. Although it is related to the life of the head on the waistband of the trousers, it is not humble; the daily leisurely is the cognitive change of the female slut, and it is also the feeling of sorrow and sorrow. It is the heroic spirit of Grand Theft Auto. The monologue and the lens language alone show a moment of aura. The film features an excerpt from the Chinese writer Mao Dun's "Twilight": "...the wind has gone with the declaration of the sunset. Like a sudden melting, the numerous golden eyes of the sea are flattened to the dark green face. There is a tragic and strong scream. The darkness of the night will be heavy and falling..." Like a whole wedge, the sunset is magnificent by the sea; the lofty ambition, the broad mind and the firm belief are always urging people. Prosperous. Director Xu Anhua’s joys and sorrows, which are still known in the film, are still in the film. Tragic physique should be praised, and public opinion is also reviewed through a surviving person. Recalling the fragmentary statement, that pity and vicissitudes of life made the people in the past jump on paper. Looking at Hong Kong today, high-rise buildings are more than a row of scales. Although they are sighed by the past, the group portraits of Hong Kong people in wartime are as vivid as they are. All Images Courtesy of Double Happiness Movie Double Happiness Movie. Join Polysh Facebook to read the latest and interesting movies and art articles at any time.
With a few inciting shots, lead the audience's eyes: a middle-aged woman, plain undressed, walked out of an old house, bought a newspaper, looking for a rental house. Uncovering the film's prelude, the stamina is strong; when the movie is over, it can be looked back. It turned out that this time the action of finding a house was the beginning of all revolutions. The story of the film "My Happy Family" is degenerate. It tells the story of Manana, who is the spiritual pillar of her family. On the 52nd birthday, she announced her plan to leave home for a long time without any emotion. Under the care and concern of relatives and friends, Manana always said faintly, "I need my own life", and that's all. No one believes. In this way, the "good mother" in a traditional impression is portrayed. After "a distance from home", the interpersonal structure in the family is more clearly seen. Through the speculation of the purpose of the mother's removal from the mother, the "home" is the most basic. "Interpersonal stress." Man-made individuals need the private domain of their own self, but they are unconcerned and unnecessarily lonely. Sometimes they must embrace the masses. People and people form a group. Once they enter a group, comparison, stress naturally arises, emotional threats, or a small number of thoughts are often suppressed by the majority, and all kinds of situations are not in the words. Therefore, the lack and complementarity of individuals and groups often pulls and lays the foundation for the conflict between the film "The Old Mother and the Family". "Lao Niang's Family" is based on a more subtle coordinate: "family." Home, regardless of any classification in the East and West, is basically included in the quadrant of the "group", but it exists uniquely - because in an organization like the family, "blood" is connected to each other. Parents come from different families and use "emotion" as the basis for implementing the relationship. Sometimes "law" is involved. Therefore, when individualism emerges, it is often subject to the soft abduction of the group, causing a certain degree of restriction on thinking and action. It is even harder to say that it is detached from the separation, and the full testimony of "cutting the continuation and resolving the chaos". Georgia can say that the well-directed duo director Nana Ekvtimishvili and Simon Gross have set the revolutionary creators in the film as the backbone of the three generations of the family: "Mother." The role of the mother is usually representative of tolerance in the family structure, seems to be able to withstand more, and is also a relatively strong internal manager than men. Assuming that the mother proposes to keep a distance from the group, the degree of surprise within the group and the feeling of reflection are even stronger. In the play, Manana had to wash clothes for her family, but the design of the house was old. There was only one big wardrobe, which was placed in the room of the daughter and the son-in-law. Every time Manana had to pick up the nursery and get up in the morning. , hurriedly sneaked into the room, so as not to open the switch to close the sound of the wardrobe, still asleep daughter. With a simple arrangement, you can place in-depth metaphors in it, and present the contrast between home, individual, collective and private desires clearly and unpretentiously. When the perspective turns to ourselves, if we look at the space of self-existence from the group, do we have the ability to know what we are missing? What is needed? Can I find reference values from past group experiences? As a result, Manana's withdrawal, but turned back to the opportunity to review. Standing outside a certain distance, Manana actually can't get rid of the ingredients involved in the relative spectator's perspective, and watch the hidden substantive problems in the family; such as the marriage of daughters and daughters, the dispute caused by the inability to succeed in seeking children. The care of the elderly parents, the face problem of the sense of appearance; the understanding of the family role with the husband for many years. All kinds, all kinds, because of the revolution, have gained a calm look, while at the same time squatting. The sense of record of the hand-held lens runs through the whole movie, and it does not lyrically echo the central idea of the story. All the games are arranged in tandem with exquisite scene scheduling, so that the characters' emotions are coherent, the moderate viewing distance is even, and even the reservation is retained. The time for the audience to save themselves. Especially the heroine's performance is amazing, it is undoubtedly a low-key and avant-garde movie. The tree in front of the floor-to-ceiling window was blown by the wind, and Manana turned out the dusty guitar for a long time, and exchanged the new string bought by the listing. The rustling sound of the wind, in the black box of the theater, caught us and Ma. Nana is a separate individual. At this time, like Manana’s accidental question: "What about you? You know what you are..." You have the courage to live in isolation, and you can't forget to explore yourself inward. You and me will survive after the confusion and clarification on this road. What do you want? Perhaps for Manana, it was just the leisure of the guitar. All Images Courtesy of Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.
The storytelling of history is not unusual, and the point of view is a difficult problem. However, the work of Xu Anhua, the director of the detailed director, always has a strong humanistic landscape regardless of the era. The main line is full of flavor, and the branch line is also intriguing; recently, the "Maylight of the Moon" has just released, in addition to the main line of heavyweight superstars, there are more beautiful warm branches, enriching the whole story. Between 1942 and 1944, the Japanese occupied Hong Kong, and the guerrillas "Dongjiang Column" secretly rescued cultural figures. Jianghu and the people joined hands to organize young people to fight against Japan. In the era of war and the streets of Hong Kong, where the smoke was filled, the background of this era came to the hands of Xu Anhua, but it opened a life story that was very subtle. The heroes of Jianghu stood up to protect the literati and the girl who was afraid of the night. Warning; walking into the dark, anti-Japanese, worrying, aunts, and aunts, but have the courage to save lives. A small but heavy figure gathers into this unique and beautiful era. Ye Dejun, the protagonist of Fang Lan’s mother, and Liang Jiahui, who is a guest of old makeup and reminiscent of memories, are particularly eye-catching in this story. The Dongjiang column organized the people to assist the anti-Japanese, and Fang Lan, who loves literature and art, took on the task of transmitting intelligence. The mother of Fang Lan was the portrayal of the worried mother in the chaotic era. In the turbulent times, you can't count on how great a mother should be. She is selfish, broken, and good-faced, and regards her child as the only one in her life. Like all the mothers of Greater China, she is accustomed to criticizing and concealing her fears to prevent her daughter from being protected. Although she does not know the big words, she can insist on daily complication. She can’t stop her daughter from embarking on danger. I want her to bring herself - mother, in this big age than anybody is inconspicuous, courage but not lose anyone. From "Peach Sister" to "When is the Moonlight", Ye Dejun has already been familiar with the eyebrows of Hong Kong's old-time women, and his rough face is always a firm and elegant figure when he is wolf; rude and selfish thoughts help His own people are full of selflessness; worrying all the time, the courage to show things does not lose the young righteous. Such a small and popular character, in the delicate and precise performance of Ye Dejun, became the most beautiful branch outside the main line in the movie of Xu Anhua. In addition, I have to admire Liang Jiahui, although he only shoulders the story of telling the past, but when it comes to the story, the thick glasses underneath the wrinkles. However, when the end of the song is scattered, the hunchback of the car, driving the door, and avoiding the invitation to work together, the move in one go to bring the current gray in Hong Kong, despite the times shifting, personnel are not right, the small people have to do their best in any era. Survival, and the story of history speaks of this, leaving the viewers to think carefully about the intriguing nature of the review. Image Courtesy of Double Happiness Movie & Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.
The kick-off, the light source comes from the mobile phone, the direction of light projection, is a semi-naked sleeping male body. Subsequently, the owner of the mobile phone brought a light bag - the bag was insignificant and less, and left. "There is a kind of bird in the world that has no feet. It can only fly and fly all the time. When it is tired, it will sleep in the wind. This kind of bird will only go down once in a lifetime, and that time is the time of death." - "A Fei Zheng Chuan This sentence is like the director Jérôme Reybaud in the "Path from the G plan", the protagonist Pierre's portrayal. Symbolizing freedom, but also breaking the title "At the same time, we need to bear the "loneness" from freedom." Without leaving her boyfriend, Piye began to travel in a directionless road, relying on the positioning function of the friends, the roadside picnic, and the "desire"; the left-behind boyfriend also used the dating software to track away Go to Pie. The development of the story is natural, but it also carries an incredible fantasy. The so-called fantasy is not defined in "non-realistic", but rather "super-realistic." Out of the wandering, Piye attempted to deliberately not set goals. Although he did not say it, he was faintly able to piece together through the plot. He wanted to enjoy the "real freedom" in his heart. This road trip, with the French and Italian borders as the limit, he follows the friends of the friends and friends, facing up to the "sexual needs" of his heart, without any disguise; tired, just borrowing a bed for the night, every other day, Keep moving forward. "Desire" rather than simply "desire." What Pierre wants, the surface seems to be unable to rule out something other than "non-sex." As the journey freely radiates, it seems to be able to smell that he has more pursuits than "sex", vaguely emerging: this "freedom" is calmly placed in love, body and mind; he reflects on the way to the passengers and their respective The propositions of life, although they have the obligations and responsibilities that bind them, give them stability and protection. No one can clearly determine whether it is good or bad. Tricky technology faces the provocation of human nature, and the fascinating "humor". Modern society's dependence on technology sometimes exceeds our own imagination. Through the lens of Jérôme Reybaud, we see our own funny and find hidden behind the soft and hard body. Romantic orientation. Piye's boyfriend, relying on a lower body photo from a friend's software, recognized Piye, his face was a long-lost thought; Pierre and the unfamiliarity between several bed friends, the night's edge, but took up The agreement to send parcels to the gunners; the code of "too familiar can not make love", the owner of the bar mentioned this seemingly paradoxical, contradictory paradox... in the immersion in the modern technology network, the contradiction Familiar voices. While reflecting, I laughed unconsciously. As mentioned above, this film has sneaked a lot of humanity on the scientific side of Leng Bing; in other words, the "randomness" hidden inside, in addition to realistically presenting the "non-linear" of life, often does not follow the causal logic and enriches the sensibility. Romantic elements. Boldly adopting the "long lens" smooth movement, eliminating the sense of presence of the handheld camera, it seems cold but poetic, and even the most extreme limit of a mirror, just right! Adhering to the principle of going to the scene, the overall rhythm is full of charm, and the technical side is remarkable. In particular, the arrangement of several games: the dream of sleeping in the Pied car, violently interpreting like a dream of a true boyfriend; when you are young, you secretly love Pied's tutor, forgetting masturbation, and entering the picture, it is difficult to define what is reality. A female passenger on the Alfa Romeo, after arriving at the destination, one person in the glass house, one person outside the glass house, one mirror, the picture is smooth, the focus and the movement of the characters, the light and dark realistic design, two The moving figure is delicately extended; between the rigid and the soft, the deployment is extremely appropriate. To set off on the journey, you have to undertake the "beauty and torture" on the way. This movie is like a one-sided two-side slowly diverging, and finally becomes a circle; you can find the casualness of "Spring Breeze", projected across the wall Face, two men lying under the hanging picture, hidden but wild erotic desire; can also see the creator's intention to give rational discussion, at the end of the film, do not want to tell Pierre Boyfriend, Pierre, the sudden netizen, the struggle on his face Difficult. Both rationality and sensibility are combined, humanity and technology are well explained, and they are all integrated into a journey of unplanned aircraft transportation. If you can, freely, casually, even once, it is absolutely happy!
"For me, what is the use of a movie, whether it is a feature film or a documentary, it doesn't matter. A good movie is about truth, not fact." - Sergei Eiseinstein This year's Taipei Film Festival focuses In recent years in Hong Kong, the theme "Hong Kong Progressive" has been set up. In several video creations different from commercial techniques, the audience will see the contradiction and complexity of the city under the geographical and historical factors. Several creators complete the valuable spirit of the work in the limits of reality. When nationalism and global competition redefine contemporary, Hong Kong, the front line of the most turbulent turmoil in East Asia, this long-term partner with Taiwan, we can't help but understand its increasingly difficult situation and more comprehensive after China's rise. Looks like. The director of the news, Luo Enhui, met several stories of juvenile delinquents in the "June 7 Riot" in several gatherings with friends. At that time, she was deeply touched and began to record their thoughts by video; just asking for dictation When the story is authentic, she can only find a 21-second street view in the historical archives. All the files are intentionally turned into “empty clips”; and her tracking process almost overturns the original intention of the recorded characters. Deriving the truth into a more complex and dangerous face. The June 7th riots launched a local protest campaign in Hong Kong in 1967. This was a leftist trade union organization protesting against the British government's street movement, but it evolved into a violent crackdown and assassination, and a random bomb bomb attack. It lasted for eight months and was implicated in countless days. In the absence of any filming budget, Luo Enhui explored the clues of the June 7 incident and repeatedly returned to the United Kingdom and Hong Kong to make up for the British government documents and news messages at the time, but there was no real report from the local left. Until the film entered the post-production stage, she was exposed to the CCP’s relatives who planned the movement and obtained the first-hand personal record. She spent another more than a year re-interviewing the production. The film begins with a recollection, and the lens is intended to focus on the incompleteness and tears of the participants, reminding the viewer to enter a story that reveals the scars of others. The following narrative is an interview lens, which is interspersed with multiple lines and avoids any emotional medium. For example, the search is to let the audience track and examine the truth in the discourse. However, the information is more complicated and there is no a priori. Under the premise, the audience is almost lost in the arguments of all parties. At this moment, Luo Enhui deliberately cut into the key person letters, and the main motivation behind the incident gradually became clear. Under the link of "personal", it became the innocent pusher of "collective violence". At that time, many young participants had passed away. Isolating the society and avoiding the past, some enter the core of the power of the establishment, and wash away the suffocation of the streets of the day. Between the egg and the high wall, she does not set an absolute right and wrong, but allows each respondent (excluding the extremes of both parties) to express the six or seven events that she/she looks back on for the rest of her life. The truth finally stopped at the end of the paragraph, and Ron Hui told us more about the facts that were conducive to the complete facts, but she was "screened" by others. The film's review of the history of the June 7th incident is only the beginning. It gives the viewer more, is the author's absolute belief in the pursuit of truth, and maintains criticism and questioning of each link in the process. For the creators, this is the courage to persist in the mind; for the Hong Kong people who are in the chaos of the times, this is a reflection on the facts and the manipulation behind them; for every "individual", this is the evil of ordinary people. The contemporary return of history is the most alarming alarm. The film's publication was squeezed in Hong Kong and was the international premiere of this year's Taipei Film Festival. Here, I wish the "Disappeared Archives" and its behind-the-scenes team. All Images Courtesy of Taipei Film Festival. Keep an eye out for the 2017 Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.
In the season of going up the mountain, the growing season has a season of going up the mountain every year. It was eight weeks from the rest of the year. In the Kosza tribes of South Africa, circumcision is always held at fixed times every year to carry out the ceremony of becoming a real man for the boys in the tribe. At the same time, it is also the season when young men and their companions return to the tribe. They lead the boys to the path of adulthood and are called "caregivers" in the strict age group. In these eight weeks, they became the group. Called the leader of the "newbie" boys, the guardian, the lighter. Korani, who works part-time for white people in urban factories, returns to the mountains every year, repeating the tradition of turbulence in the body year after year, watching the young boys one by one receiving the pain after the knife falls. One side twisted the waiting time, the pain of the transitional body, and finally witnessed them become men. However, Korani’s heart contains a transparent but huge secret. This secret follows him, as if he has become a vow without evidence, but stubbornly, and has not left. Korani returns to the mountains every year, in order to see the childhood playmates, eight weeks of ceremonies, but also their quiet time to count down. The time is short, they meet in the evening, and passionately and passionately love - the annual circumcision ceremony in the tribe is also the time of their year and night. The sympathy of the comrades can not be seen under the traditional customs, not only taboos, but also sins. Ironically, through the annual traditional rituals, Korani can see the people who are in the heart, as if they are hiding in the last trace of light under the lion's claws, looking for hope in the most dangerous place, because looking outside, There is no way to escape. A rebellious young "glass" Every year, the boy endures the pain, waits for the wound to heal, completes the circumcision, leaves the mountain, and becomes a real man. Korani watched them leave in groups, but they were forever banned forever. Collan, who was circumcised in the past, was discriminated against and bullied, and now he has been trapped in the mountains for a long time. This year, Korani was specially entrusted by her uncle to take care of a child from the city (Johannesburg). He looked at the weak, but with stubborn eyes and unyielding temper, cast a dramatic in the traditional village. Shocking bombs. Kuanda is not afraid of the hostility of all people, bears the sin of not being forgiven, stubbornly adheres to his principles in the most traditional moments, he is not afraid of being discriminated against because he is an urban person, and even inadvertently touches the most unseen light. The taboos revealed the embarrassing relationship between Korani and another "caregiver." Kuanda is also a piece of "glass", a fragile "glass" that is ridiculed and bullied in the eyes of other Kosak boys. However, the thin, see-through "glass" is smashed while being damaging: the fragile and young glass, with its own broken stab wounding the people who block him and the traditional bondage, Drain the blood marks and wear the tradition. During the circumcision, Judas spy on Kolani's every move, tentatively trying to pick up the secrets of the bottom. However, Kanda did not want to report to Korani. He just repeatedly asked: "Do you want to leave?", "Are you afraid of what you love?" Korani, who is speechless, is just yelling. Be extravagant. However, is there really a way to escape? The traditions and disciplines of tribes and families are like dogmas that constrain Colani and Kanda, as if there is nowhere to go. Cut the bleeding marks, but lost the contradiction between the love of traditional etiquette and self, no compromise, and no compromise. Korani's childhood playmates (lovers) marry and have children, contrary to the sexual orientation, curled up under the tradition. Kanda tried to break through the tradition: "If I am a piece of glass, that's it! But I have to be the glass that pierces the unjust bondage." Korani was confused and stood at the intersection of the two roads. Three Kosak boys, three different roads, where is the road? Want to resist or tame? The image of director John Trengove is simple and degenerate. The scene is clean, there is no extra emotional delay, and there is a huge tension in the straight narrative. The director told a profound and far-reaching story through a simple and direct lens about the conflict between the traditional culture of South African tribes and modern life, and the huge gap between family ethics and masculinity and comradeship. The shocks and journeys that boys encounter during circumcision struggle between obeying traditional values and self-identity. In recent years, the video stories and textual descriptions of queer and comrades have gradually increased, but they still lack the part of how minority faces comrades. When the values of the comrades' love of comrades enter the tribe along with the rising tide of modernization, how do people view this group of deviations from traditional values? John Trengove uses stories to tell stories, but not just to tell a gay love story that takes place in a remote world corner. Instead, he wants to take the lens into the tribe and re-examine a circumcision with a more realistic and accurate image narrative. As well as facing the Western powers, the rise and fall of the Kosak tradition, choice and self-discipline. All Movie Images Courtesy of Taipei Film Festival. Keep an eye out for the 2017 Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.