Taipei Film Festival / Taipei Film Festival

The creator picks up the film | "After watching a movie, I get a huge soothing", actor Wen Yuling

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At the beginning of the 2018 Taipei Film Festival, Polysh invited several creators who love to watch movies in the fields of writing, music and performing arts to talk about their "movie love" and share how they "watch movies." In the "Last Poetry", Li Xiaoping, who faces the struggle and helplessness of the contemporary youth, and dials his own self-disciplinary desires and emotions in the predicament; is in the "Blood Goddess of Mercy", with a girl's heart, a smile, a friend, but a love Perseverance to the almost simple Lin Biao; is the "Miracle's Daughter", full of sense of justice, has something to say, but does not consciously oppress Chen Yuxi who hurts dear people. The scene appeared in different frames, Wen Yuling's outlines in various movies and dramas were always clear; I don't know why, those unforgettable and impressive characters always have a tragic color. Known as a new generation of genius actors, she is unquestionable to perform her talents; however, thinking about the tragic color in the role, how to present the contradictions in three dimensions, but never to treat it in a flat and single way with the word "talent" . Interview with Yu Ling is like a brainstorming and challenging. Within an hour, I kept talking about the understanding and moving of the "film" media. She almost did her best to "consciously" go to the movies. As a result, it became clear that in addition to her talents, another part of the performance of the performance of the role, but also from her dedication, repeated from image thinking to their own creation, a serious collision spark; spark never burned Do, branded as the soul and flesh of the figure in the screen. At the age of 25, facing the world's curiosity with this age, the eagerness to eagerly casts on the face of the film – whether as an audience or as a performer. This time we talked to her about everything she wanted to share about the movie, and this year's Taipei Film Festival, there are several works she is looking forward to. Watching movies is an inspiration and nutrient, and it is a comfort to life. I remember that the director once said a word: "The film is a light in the dark. I have always been impressed by the meaning of it. It's like having a nightmare in the morning, or having a lot of unhappiness in life, but after watching a movie or watching a lot of movies intensively, you get a huge relief. Wen Yuling, Scorpio, O-type, track and field team, harmonica. Watching movies is an inspiration and nutrient, and it is a comfort to life. I remember that the director once said a word: "The film is a light in the dark. I have always been impressed by the meaning of it. It's like having a nightmare in the morning, or having a lot of unhappiness in life, but after watching a movie or watching a lot of movies intensively, you get a huge relief. Wen Yuling, Scorpio, O-type, track and field team, harmonica. Wen Yuling, Scorpio, O-type, track and field team, harmonica. Watching movies is an inspiration and nutrient, and it is a comfort to life. I remember that the director once said a word: "The film is a light in the dark. I have always been impressed by the meaning of it. It's like having a nightmare in the morning, or having a lot of unhappiness in life, but after watching a movie or watching a lot of movies intensively, you get a huge relief. "Inspired by the film, learn the feelings, get comforted, and then trigger thinking and self-discipline." It is not from the question and answer of the typical interview. Yu Ling thinks from the perspective of the filmmaker as a medium for the performance of the film. , positioning the film in the coordinates of her life. "Remember that in the Netflix album "The Madden Women's Prison", there is a paragraph about "Life" that is very good: people think that they live in such a world, get used to their homes, get used to eating, and get used to friends, family and pets around them. All the habits are actually a kind of non-stop "repetition"." In this repetition of the cycle, she consciously challenges the "taken for the sake of being". "As an actor, a creator, I feel that many things must always be I keep thinking of ways to "restart". Just like in life, I am still in the same place, or just staying in Taiwan; I want to go to the new destination from where I was. Because there are still many things in this world, I still don't understand it, and there are more experiences waiting for me to try." I know that the creative nutrients come from the accumulation of different stimuli in life, and the desire to change and try to drive myself, for Yu Ling, The "watching movie" is not a casual activity. "When watching a movie, you must remind your heart to feel or accept it," not only the vision but the The official is fully immersed in the frame. "From music, art, photography to plot, etc., try to get inspiration from different movies and learn the feelings." And the process of learning, Yu Ling laughed and said that I see myself through "one understanding my elders." "A process of knowing oneself from different angles. Like, when you start to discover a movie, you don't like it in some places, it may be a moral feeling or a work. The way it is presented, it may be reversed and negative. For example, the director is telling feminism, but you deeply feel that women are constantly being insulted in that film – and that’s how they look at things. To think and understand, "Why don't you like it," how does it feel from? - In fact, it is a process of dialectical and understanding of oneself." In addition to understanding yourself more, I will look at it from multiple angles. It is equally important for Yan Ling to put back the influence of the film on its own performance. Many unpleasant characters, even without good-hearted plot arrangements, sometimes blame the director for personal lack or deviation. "We should practice reading a movie in many ways. For my own sake, the public My impression is that I love life; but if I perform a role of animal cruelty, what is the reason for this?" Behind this unpleasant, even malicious plot, "because everyone feels shameful, bad, controversial I dare not say or do it, but maybe it is what really happened. If there is no such role or plot to present, is it that the representative is not seen, and people are lucky to think that it does not exist?" By interpreting similar roles Or participate in similar works, to speak for specific topics, to raise awareness of the discussion, but another meaning is gentle, "I think it is "find redemption"! Whether it is a reconciliation with a certain part, or some forgiveness My own process." This profound understanding comes from the ambassador of the Taipei Film Festival last year, and Yu Ling and his friends watched the classic reproduce Yuan Li, director Michael Haneke's "Big People". "Because my friends have different opinions and I don't like this movie, I am even angry when I read it, but my point of view is not the same entry point." She recalled, perhaps because of the cold and cold lens with no mercy. The plot makes people feel cold and ruthless, and even emphasizes "evil". It is both aggressive and provocative to the audience. "But I believe that Michael Haneke loves movies so much. His interpretation of human nature is actually in the world. There is "goodness". It is only that the way he watches "goodness" is to use "evil" to compare. If we don't discuss the darkness of human nature, it seems that there is no way to fully tell the bright side of human nature." "Happy People", Michael Haneke. This profound understanding comes from the role of the ambassador of the Taipei Film Festival last year. Yu Ling and his friends watched the classic re-enactment unit, director Michael Haneke's "Big People". "Because my friends have different opinions and I don't like this movie, I am even angry when I read it, but my point of view is not the same entry point." She recalled, perhaps because of the cold and cold lens with no mercy. The plot makes people feel cold and ruthless, and even emphasizes "evil". It is both aggressive and provocative to the audience. "But I believe that Michael Haneke loves movies so much. His interpretation of human nature is actually in the world. There is "goodness". It is only that the way he watches "goodness" is to use "evil" to compare. If we don't discuss the darkness of human nature, it seems that there is no way to fully explain the bright side of human nature." Because of this, " Watching movies by yourself is very important to Yan Ling. "When the masses are quick to be interested in one thing and then quickly feel it, they don't really understand themselves! I don't know what direction I am heading or what I really support. However, if I watch the process, I will not talk about myself. I will find that I tend to be certain subjects or feelings, which means that such things will stimulate myself." With a firm and even strong tone, she smiled and replied. Therefore, at this year's Taipei Film Festival, Yu Ling has watched many works alone, throwing himself into and enjoying it without any interference, and then depositing, digesting and thinking, and even this conversation. Even if it is sharp, it is full of opinions and strength. When I fell in love with movies, "Erga Variations" used to find inspiration in various creative media. From the time when Yu Ling was a child, "I liked comics and movies when I was a child, and even liked to go to a comic shop to work. At that time I thought I could I was the first to watch new comics and movie DVDs, and later discovered that employees can't borrow new movies (laughs). Since then, she has accumulated a lot of knowledge about movies. And when it comes to the moment when I really fell in love with the movie, "Probably the "European Variations" I saw when I was 16 years old, that film has been around for a while, and I like the director Lars von Trier because of this work." "It's hard to explain how it feels to me. In fact, the whole tone is very dark, and it is presented in the form of a stage play. When the story begins to come up in the middle and late stages, I clearly feel the feeling of "pain"." Yan Ling recalled, " Even if I feel "pain" deeply, "Erga Variations" opens my curiosity about the film. I started to think that watching movies is very interesting. So I became a fanatic moviemaker for a while." The habit of watching movies intensively, the film is much more interesting, and always encounters works that collide with other creative media, such as films adapted from novels, which also triggers the repetitive dialectic and reflection of Yu Ling in the image and in the plot. "Like the recent "Burning Love", the inspiration came from Haruki Murakami's "Burning Barn" in "Firefly", but basically the film and the book are two different contents. Later I went to see Murakami. Chunshu’s short stories seem to be accumulating, reviewing, and comprehending.” Talking about the spark of literature and film, Yu Ling is talking about it. Because of his study of Russian, he also spent a lot of effort on Russian films and literary works. Explore it. Film and literature have such appeal to me. I will fully believe in the world that the creator has made, and from a life of immutability, find a driving force that will keep me moving forward. "Russian well-known great writer Gogol, the work has always been very magical and realistic, like the story of getting up the nose the next day, running away from home, running on the road, etc., writing something full of imagination to make it difficult to use logic to infer. However, I went to Russia for ten months and found that Russians value the reality and don't trust the things about imagination. But even so, even if they don't really believe what he wrote, they still admire Gogol. Works. Reflected in their film works, there are also many Russian creators who continue to shoot imaginative works." And these imaginary worlds - whether they are played between frames or pages, "I actually believe These worlds also feel that these worlds have a certain meaning." 2018 Taipei Film Festival's expected work "Big Pepper Doctor" | Mizoguchi Kenji | 2018 Taipei Film Festival "Classic Reappearance". Pingzheng was demoted in violation of the imperial order to relieve the victims. His wife Yumu took his son, the cook, and his daughter, Anshou, but was deceived by the traffickers. The brothers and sisters were sold to the doctor...

The creator picks up the film | "The movie, let my inner beast break free", musician flange

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At the beginning of the 2018 Taipei Film Festival, Polysh invited several creators who love to watch movies in the fields of writing, music and performing arts to talk about their "movie love" and share how they "watch movies." A soft and whispering whisper, the girl's heartbreak and fascination, like the overtones on the music sheet, the neon and the moonlight, reflecting the city's seemingly absurd, no name grief. The vocal line of the Flange singer's lead singer always makes me feel that it is liquid. It sounds soft and invisible, but it always covers the ears and the bottom of my heart. It makes the sorrow even sad, but it is also blurred. Such poetry is also damp; a first piece of work is ultimately a love song - a wet love song dedicated to the city and sensitive souls. The lyrics and melody of the resonance in the works fluctuate, and Frank said that it is deeply influenced by the plot transition and visual feeling in the film; she is also engaged in the film soundtrack cooperation recently, sharing with us how the film let her release and understand I am, and this year's Taipei Film Festival, there are several works she is looking forward to. Every time I dropped myself in the movie and went to another life from the perspective of the protagonist, after crying or laughing, I came out and felt more lonely and more understanding of myself. The feeling of being lonely and free, there is the ease, loneliness and happiness that can't be said. Flange, music creator, lead singer of the Frandé French Orchestra. The enchanting temperament in the character makes Frandé's music wandering in a foggy, unpredictable time and space. Every time I dropped myself in the movie and went to another life from the perspective of the protagonist, after crying or laughing, I came out and felt more lonely and more understanding of myself. The feeling of being lonely and free, there is the ease, loneliness and happiness that can't be said. Flange, music creator, lead singer of the Frandé French Orchestra. The enchanting temperament in the character makes Frandé's music wandering in a foggy, unpredictable time and space. Flange, music creator, lead singer of the Frandé French Orchestra. The enchanting temperament in the character makes Frandé's music wandering in a foggy, unpredictable time and space. Every time I dropped myself in the movie and went to another life from the perspective of the protagonist, after crying or laughing, I came out and felt more lonely and more understanding of myself. The feeling of being lonely and free, there is the ease, loneliness and happiness that can't be said. "Movies, like music, are the medium for my inner beast to break free." "I like to watch movies and prefer to go to the movies alone." The interview began with a direct and naked confession of Fran, showing the impact of the film on her. That even took a movie about her "privacy." "I often feel that life is like a series of continuous animal training, taming with the inner beast, learning to be patient, understanding, and assimilation." The movie is likened to the moment of "letting your inner beast break free." Lan, the process allows a certain part of itself, even the unknown itself, to be released. If there are various occurrences of reality, joys, sorrows, and frictions, it is a training process of growth and socialization. There are always some people who are eager to control, but they may have to be careful because of the expectations of others. The creator who wanders between the melody and undulations, the fringe counts the corners of his eyebrows in his life. "In the ordinary life, creating and producing, often pay attention to and measure many small details." Facing reality In her own way, she is also like you and me, more or less, or when there is repression. And "watching movies" - just because movies are the hard work and creation of others, "but instead investing in other people's creations, you can breathe in a big mouth, release the inner, feel amazed, let go of tears, or sleepwalking for a while, don't need to fear yourself. How deep is it." In the cycle of day-to-day, leaving it for a while, it seems that by always exploring the life of another person, "it can be truly in a state of being completely out of touch with people in real life." Know yourself.” The process is not only emotionally resonating, “sometimes intoxicated, giving up the process of self; sometimes it is learning.” It triggers new thoughts and emotions, is transformed into its own nutrients, and even Occasionally bring the courage or encouragement of the flange. In terms of its own creation, the image and sound flow of 24 frames per second in the frame, its influence is invisibly projected on the bottom of the flange, becoming the way she expresses and explains the concept to others. "The scene or lens scheduling of a movie often becomes a way for me to explain the direction of a song to a member or partner. Later, I feel that it creates another difficulty (laughs)! Because of the film, video and lens language, it is another Hard learning.” I admit that I was deeply influenced by the visual feelings and plot transitions in the movie. “In the past, I was always jokes when I was interviewed.” I hope that there is a fog and a feeling of embarrassment. Then it seems to be far away. Illuminated the fire, the bigger the bigger, the more irrational requirements of "the sound of the stars", etc." Frank explained with a smile. According to his works, he can find out the clues in the gentle and sensitive narrative tone, or the ups and downs of the lyrics. When I fell in love with the movie, "Dream" talked about the time when I fell in love with the movie. Flange was impressed by the "Dream" directed by Akira Kurosawa. In retrospect, it was actually when she was young and watched with the adults. "The first time was a bit ignorant, and I don't know if I fell in love, but the amazing feeling is indeed unprecedented. The fragment of "Fox Marrying Daughter" brings me a strange feeling. I have been unable to forget." Flang recalled. Such a surprise impression comes from the mysterious atmosphere in the movie "Fox Marrying Daughter", accompanied by quirky temperament sounds, and even with a "taboo"; "It is also a bit like listening to Massive Attack "Teardrop" for the first time in life. The sense of shock," Fran explained, "a first glimpse of the world in which you live, another world of different dimensions." As I grew older, I was still shocked and still deeply influential, even indirectly affecting the works of Fran. "I have never forgotten it. When we were doing the arrangement of Tautology, a few years ago, I mentioned it. This recollection; I hope that the atmosphere of this picture and plot can help the members to imagine the direction of this song." 2018 Taipei Film Festival's expected work "Who First Loves Him"|Xu Yuting, Xu Zhiyan|2018 Taipei Film Festival "International New Director The contest and the "Taipei Film Award" were shortlisted. Liu Sanlian and her life are full of drama. Her son's comment: "It is a pity that she does not go to Hollywood!" Three years ago, her husband left home and her husband died 95 days ago. Liu Sanlian discovered the beneficiary of her husband's insurance, even from her son. It became a man named Ajie. Angry Liu Sanlian had to take her son and her Oscar-level acting skills to go straight to Ajie’s home and stage a tragedy of orphans and widows. But the man named Ajie had a sinister heart under the beautiful appearance. Even the dead skinned face was mad and stupid from the beginning to the end, so that Liu Sanlian of this side of justice was angry and collapsed, and he also robbed his husband’s insurance money! The first is "Who First Loves Him" ​​and "Sakamoto Ryuichi: The Final Chapter." Home-made comedy is one of the types I like very much. The Taiwanese work "Who loves him first" from the insurance claims is certainly not to be missed! And "Sakamoto Ryuichi: The Final Chapter", I have always liked the work of Sakamoto Ryuichi, and the recent "Furious" movie soundtrack is also his work. ...

The creator picks up the film | "Movie, in ordinary life, where the miracle happens", writer Chen Dezheng

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At the beginning of the 2018 Taipei Film Festival, Polysh invited several creators who love to watch movies in the fields of writing, music and performing arts to talk about their "movie love" and share how they "watch movies." Recording a roll of old-school and old-fashioned Mixtape, using words and vocabulary; the moments in the translation memory are still bright or moving, and then echoes in the reader's mind. Chen Dezheng, rewriting the 90s with words, transforming the music context into a vein of self-growth; there are youthful adventures, softness and anxiety between the lines, each note is full of affection, and then there is something wrong with the personnel - or rather, Homesickness, that is dedicated to growth, but also to himself. Repeatedly playing and repeating each page of the songs, and actually found a scene of the movie, "watching movies, ritualistic." In addition to the original music, the film is also a climax in his self-publishing youth. This time we talked with him about how the film's media influenced his writing; and this year's Taipei Film Festival, what other works he expected. Movies, like the places where miracles happen in ordinary life. In the 90 minutes to two hours, the storyline and time are condensed, and it is almost more exciting than most of my own life and what will happen. It is a time-compressed art, a magical medium between reality and dreams, and the director is the creator of the world, creating a roundabout framework. In this frame space, the actors walked in, accompanied by the sounds heard in this space - film music. Chen Dezheng, Department of Radio and Television, Zhengda University, Master of Media Studies, New School, New York. People who write, usually listen to music, watch movies, and go through several places. He is the author of "To all the tomorrow's gatherings", "Meeting in the distance", "The moment we say goodbye". Movies, like the places where miracles happen in ordinary life. In the 90 minutes to two hours, the storyline and time are condensed, and it is almost more exciting than most of my own life and what will happen. It is a time-compressed art, a magical medium between reality and dreams, and the director is the creator of the world, creating a roundabout framework. In this frame space, the actors walked in, accompanied by the sounds heard in this space - film music. Chen Dezheng, Department of Radio and Television, Zhengda University, Master of Media Studies, New School, New York. People who write, usually listen to music, watch movies, and go through several places. He is the author of "To all the tomorrow's gatherings", "Meeting in the distance", "The moment we say goodbye". Chen Dezheng, Department of Radio and Television, Zhengda University, Master of Media Studies, New School, New York. People who write, usually listen to music, watch movies, and go through several places. He is the author of "To all the tomorrow's gatherings", "Meeting in the distance", "The moment we say goodbye". Photography/ Li Yingxia. "Movies, like in ordinary life, where miracles happen." "The vast majority of us, including those who create movies, usually brush their teeth, wash their faces, do things, go out, and spend the same day every day. In the pace of the pace." As a creator of writing and living, Dezheng admitted at the beginning that the writer's life is actually extremely monotonous and boring; however, within two hours of watching the movie, it can make people enter the ordinary Different worlds, "People can fall freely into the market, regardless of the consequences, but feel safe. For example, temporarily withdraw from the usual triviality and transfer to another time and space, and this time and space is created by a group of people. Recalling the new book "We Say Goodbye" in the German government, he described the film and the film festival as "ceremonial" activities; all this should start from his student days. As a literary youth in the 1990s, "Running Film Festival seems to be the only way for a young artist to develop in my time. (Laughter)." Life experience tells us that there are many uncertain things about the future, including ourselves and others. "But there are certain "ceremonial" activities that will make people feel that the world is operating in a certain order or track. The so-called "ceremonial" is a kind of peace of mind and has an inner kind. The feeling of order; the way it is to run a film festival or watch a movie, you perceive the passage of time, and also confirm that certain things are relatively absolute." The fun of running a film festival is not just watching the movie itself, but this Who you met in the process, and then discovered that those who may know or not know meet each other at this time of the year - perhaps called a fate or tacit understanding. As the year has passed, some people have also been found to leave; they may go abroad, may be older and no longer run a film festival, but there will always be new audiences to join. It is a sense of privacy or intimacy between a group of people who do not know. The most interesting thing about watching movies is that "the audience knows that it may be a "recreated reality" or a group of people performing; but when you are sitting in a movie theater, you believe that it is true. It is not Dream - you know clearly and can distinguish, but it is presented in a state of dreams (of course, the documentary is another matter). It is a kind of resistance, resisting boredom, ignorance and sometimes resisting lies." It is "reality of re-creation", how can it resist lies? "The film is a lie art of 24 grids per second, in order to serve the truth." This is what the director Michael Haneke said." Dezheng explained, "The 24 grids are all lies, but the lies exist for the truth. Look at the director how to shoot. Even if all are carefully designed, but in the end it is to present some kind of feeling, "Ah! The days I lived seem to be like this scene." The so-called "everyday" in those frames, via The design, in turn, causes the viewer to resonate with some familiarity.” Combining sound, video, and plot, the highest-end work that triggers thinking and wraps the senses, as Flaubert said: “The author should be like the universe in his works. God. He is omnipresent, but there is no trace to find." In the frame to shape a world without revealing traces, the director's sense of existence is not so strong, for the German government that is the highest realm of the creator. As far as his own creation is concerned, watching a movie can not only temporarily escape the boring life, but also the medium in which he draws inspiration and triggers thinking. "In terms of the nature of creation, writing is the same as film, but the media is different. The film creates a wonderful world in a boring life, and the writer is also." There is actually a subtle resonance between the two. Writing is the reader through the author. The text is to think, and then come back to think about the text itself; "The film is the medium that triggers thinking. The audience thinks through the image, but they can think about the image itself." The connection between the creation and the story in the film is irrelevant. "This story is not necessarily limited to the script. It does not have to have a clear transition, a confession or an ending. It may be conveyed by the aesthetics of the image itself. It is an unspeakable, but the audience can definitely do it." "What?" Take Hou Hsiao-hsien’s work as an example. Dezheng explained, "There is no clear plot of his work, but the more abstract, the audience can still grasp. It is not necessarily the dialogue. It may be that the movements and arrangements of the two screens can actually create an effect that is intended to be out of the way." And if the sound in the movie is discussed from the same angle, "the song or the melody works well, view The film experience will add a lot of points, just like telling stories with lyrics." Like "Blue Boy in Moonlight", "At the end of the scene, two people met, one of them had a "Hello Stranger" in the restaurant's jukebox, no words. Conversation - I think everything they want to pour on each other is in this song. Telling a story with a song, without dialogue, is more roundabout, but at the same time has a melody." The moment of the movie, "The Last Emperor" and "The City of Sadness" Because I grew up in the family of "watching movies for family activities", especially my father is very passionate about movies. "Remember my dad said, "If the university entrance exam is a test Hollywood stars and the name of the movie, I should be able to go to the stage." (Laughs) "The timing of the contact between the German government and the film is earlier than most children of the same age." In 1988, "The Last Emperor" was released. "I was only 9 years old at that time! The story is still vivid in the present. Now I don't even feel that I am watching a movie in the theater, but sitting in a world of disintegration. On the edge, staring at the funeral." Looking back at the plot of "The Last Emperor", my heart is still moved. "In the beginning scene, Pu Yi was still a child. He just put a cockroach in the small box next to the dragon chair; After the ups and downs, he was manipulated by Japan as a burly regime. After the CCP became a political prisoner, he became a political prisoner. He changed from a last emperor to a prisoner. Finally, he resumed his civilian status and participated in a tour of the Forbidden City. The Forbidden City became an attraction. When the other members went forward, Pu Yi secretly climbed to the dragon chair, the box was still there, and the lid was opened, and the dragonfly was still alive. Even though the German government was only a child, he understood the indescribable vicissitudes of life. A cockroach, time is folded, and what you think is impossible to happen, let you see what you are watching now. We know that it is locked in

A touch of moonlight, reflecting the group image of Hong Kong's turbulent times: "When is the moon?"

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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.

A soft kidnapping from the family drama, eager for a moment of guitar and sound: "Lao Niang's family"

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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.

Emotional exchange transactions, building a barrier: "Woman from Java", "Evil Lady Mark White", "Her story is not yet to be continued"

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"Love will accommodate, reflect and magnify the trap of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations." - Eva Illouz, "Why Love Hurts : A Sociological Explanation "The Lady of the Officials", the Dilemma of the Construction of the People's Context: "The Woman from Java" Yai's young, self-explored life, sold as "married to the Netherlands" by a father's simple and ignorant transaction. The Javanese woman of the official." The honor of Mrs. Guan gave Yayi a glimmer of hope, and she looked forward to the opportunity to get rid of shame and turn over from gender and ethnic weakness. "Since my father sold me like a product, it became the most expensive item that others could not afford!" She read the newspaper, read books, and discussed her rights with a lawyer. The working class, religious groups and even the protesters all hope to get the help of the lady of the official; "Mrs. Guan", everyone shouts, the crowd context holds the words that are also secretly - they obey Yai, just because they are obeying In her identity - that is her shining title, but also the annotation of the patriarchal system on Yayi. Since then, how she strives to construct and build self-worth must be attached to this identity. Yayi may understand that he is only an audience used by these people, so she wrote to the writer, hoping to find an ally to speak for her before being betrayed and abandoned by the great history. The weak and dying Dutch husband's birthday, the fixed-position lens is aimed at Yai, watching her calm and solemn, she is everything, and accepts all kinds of guests. The long shot of a mirror highlights the oppressive feeling that Yayi is staring for a long time—it is a blockade that blocks our chances of approaching her, suggesting that Yayi is physically and psychologically restrained. Factory employees, colonial government officials, lawyers, religious groups... In this diverse living room, the most distinguished value is the independent and respected right to speak. The colonists recited the so-called law and justice to the colony, and Yai’s voice was ignored under the table. Her voice and story could only be expressed by the opportunity of the writer’s visit, but the whole film was the most powerful. Scene. The colonial country oppressed the skewness of women who were being oppressed by colonies and men, and they continued to perform in the living room of Yayi without answering. In the end, the one-way will of the colonizer rudely succumbed to the self-esteem she tried to maintain and establish; the closed door was forced to open, and the identity of Yayi was as faltering as the empty house and the health of her husband. The end of the film is a long, breathtaking silence. Yai stepped on the soft and graceful dance steps, and the gun in his hand swayed gently, and the momentum became a hollow gunshot. Just like the condolences in the HBO drama "Western Bliss World", "Music can't resist the piano that created it." How can the anti-antibody itself be based on the identity given by the patriarchal system? The living room is a discourse space for the masses to confuse and lie, how can Yayi get his identity? And what is her identity? Sitting on the sofa listening to the voices of all parties, but the original lively living room only left itself at this time, do not know what they should be. The problems and troubles that the parties gave her can be solved rudely, but the self-worth of Yayi still has no solution. Marriage secret room in the patriarchal system: "The evil woman Mark White" Catherine's royal blue dress is like a heavy cloud, drifting in the dull home; she is the heaviest ornament in the house. Her work and dressing were performed according to the table, and time was like a quiet dust falling on her shoulders, and she swayed and fell as she slept. Catherine, who loves the outdoors and the fresh air, can only wait and see the world as big as four window frames. Her likes and dislikes, interest was removed, and the whole life was squeezed into a neat and beautiful vest and skirt. But those unacceptable faces discarded by the husband and the father-in-law will not lie in the darkness; they will bubbling into the unconscious, and when the time comes, they will vent their arbitrarily. At that time, it happened to come to Catherine's door when her husband went out. The "Evil Woman Mark White" was changed from the Russian writer Leskov's short story "Mrs. Mark White of Mozambique", which is also reminiscent of Mrs. Mark White in Shakespeare's famous "Mark White". Shakespeare's Mrs. Mark White disgusted, spurned the weak, dragged her negative traits, and tried to climb the high level of the patriarchal system, but fell heavily because of her moral conscience. Catherine of "The Bad Woman Mark White" seems to be equally cold-blooded and cruel, but what drives her is not to imitate the power status of the patriarchal system, but the most feminine and irrational Gothic love. Catherine imprisoned her home and applied a "plague" called love to all the people who oppressed her in the patriarchal system to bury the marriage. French sociologist Eva Illouz writes that love will accommodate, reflect and magnify the traps of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations. (From "Why Love Hurts: A Sociological Explanation") Catherine's love is not a solid feeling. It is a mirror of the demon, reflecting the autocracy and violence of the husband and the father-in-law, magnifying the crucifixion of Catherine, and a freedom The trap of the bait. At the end of the film, Catherine walked back to the empty city house and sat back to her standard sofa position. She stepped on the bloody pace to tear down the marriage chamber, but each step fell into a deeper hell, like a loop of mutual involvement. When she removed the last wall, she found herself facing the origin of the beginning, alone. The evil in the evil woman Mark White is not Catherine's madness to love and freedom, but the marriage under the patriarchal system, the viciousness of true love and freedom. The freedom that does not exist in the transaction, the desert that cannot be left out: "Her story is not to be continued" The wind and sand blows through the smoky vines in the central United States, and the skinny girl wears a waiter uniform and walks to the small restaurant to go to work. At the age of seventeen, Katie earned money to raise her mother and her dream of going to San Francisco to study hairdressing. But this is not the American version of the orphan woman's hard work, nor is it a self-reliant and sunny girl who brings inspirational stories; in this vast and endless land, the future cannot be seen. The vast space is like a closed playground. Katie spreads goodness, beauty and dreams, but the crowd around it has already rusted. In order to save money to go to San Francisco, in order to have mobility in this desolate town, there is a secret agreement between Katie and the man with a car in the town called "Hitchhiking", which is a sexual transaction. The cars that come and go are like sub-spaces that move. When Katie is "invited" to get on the bus and exchanges money and freedom of movement with physical autonomy, he is actually kidnapped by an invitation with exchange. Behavior in the name of a transaction seems reciprocal, but when Katie decides not to make money through the flesh, almost all "customers" are reluctant to respect her choice. The body as a container of one person is the basis for letting social behavior penetrate into consciousness, and is also the channel through which the self can get along with the society. (John O'nell "Five Body") Faced with these men, Katie does not have real autonomy and boundaries. The mobility and direction she gets from them is always only in the town; it is not possible to sail to the exit. In his own right, the practice ability of imprisoning and leaving, "going to San Francisco" has become an illusory and unattainable expectation. The operation of the town has long since failed. Katie’s money from the townspeople is more like the amusement park tickets in the amusement park. It is gradually exhausted in the closed system and cannot escape the gate of the amusement park. When she walked alone on the industrial road, the huge truck whizzed past, the sense of oppression and her own thinness, like the weakness of her destiny. If she encounters a kind of "professional exploitation" in disguise, she sees the power structure in the transaction; but this structure is not just a binary opposition between sex trading and class, but more ubiquitously permeates every corner of the town. Katie and the boss, friends and family interact with each other; she must be willing to see through and give up the money and freedom built on the power structure. At the end of the film, after walking through countless deserts, she reached out for the first time to take the initiative to stop the car - pre-viewing the "transaction" that was almost certain to happen again, but could not predict the direction that Katie would decide to walk next. She understood that she had to leave the town, and that the townspeople did not care for the goodwill garden vouchers for the dust. After embarking on the real road, they did not hesitate. All Images Courtesy of Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

A small figure of the face of the gathering of the times: "When is the moon", Ye Dejun and Liang Jiahui

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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.

Between life and death, slowly lose, remember firmly: "I remember under the cherry blossoms"

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Chuhai worked in the soba noodle shop, and it looked like a calm young girl. The eyebrows were smiling, but they looked stubborn. The summer is coming, the sun is beautiful, and the Fireworks Festival is waiting for the corner. However, the early sea did not show his smile, as if the heart of the heart is in his arms, can not think of a thorough. On the occasion of the summer season, students who had been taught in Chuhai suddenly appeared, and at the same time they met the young craftsman Xiong Taro who made traditional hand-dyed cloth. Can these temperatures, like the warmth of summer, take care of the life in the early sea and pull her out of the abyss of memories? The memory of the cage, life and death, "I remember under the cherry blossoms" is only 88 minutes long, most of the shots are taken in natural light, the color is bright, the summer is clear and the atmosphere is flowing, and the protagonist’s expression in the beginning of the sea is hidden and hidden. The strong contrast is also the tension of the whole movie. The film's film head takes a long shot to bring out the tranquility of the cherry blossoms and the beautiful scenery of the sun. In the middle of the path is the figure of the early sea, the face has no expression, it is thoughtful. Chuhai said to himself: "The cherry blossoms of that year, I will always remember." Memory is sometimes like a strong cage. The first sea is deeply trapped. In the past, he became a shackle and trapped himself in the future. The narrative of the whole movie is trivial but keeps flowing, without any sense of delay. When the mind is trapped, the details of life are presented in the slightest ripples. The axis of the story is simple, following the daily life of the first sea, stretching from the moment, picking up the curtains of time and looking back at the past in the first sea. Behind the lazy life, it is the entire life that has been hollowed out. Leaving a person, jealousy and sadness are not simply because they cannot be separated, but part of themselves are not forgotten in the past. The good and beautiful gifts and the right encounters have been smashed, the followers can chase, "I remember under the cherry blossoms" on a double axis, combining the feelings of the first sea for the self-proclaimed boyfriend, and the people who are entering her life. interactive. The memories of the living and the deceased are intertwined with each other, overlapping the rich appearance of life. Pulling up the thread between the living and the dead is a gift and acceptance. At first, the sea always owes a debt, and is deeply guilty about the dead boyfriend and his family. It can't really accept the last letter of her boyfriend's death, or the greetings and warmth of her family. In the new life rhythm, Chuhai met the students in the cinema at the beginning of the movie, and the students presented the albums recorded by Chuhai himself; Xiong Taro, who is engaged in the handicraft industry, tore off a hand-dyed handkerchief as a gift. The hand-made objects are like a heartfelt gift, which makes the first sea feel happy, but at the same time uneasy. Uneasy about the heavy meaning behind this mind, and the fear of the relationship behind the gift. Perhaps this is a topic that everyone must face. How to accept the gift and face the relationship between the person, whether it exists between the living, or between life and death. Life is constantly losing, and looking for a true self in the loss. The whole movie is surrounded by big questions about life: What should be forgotten and what should be remembered? The past has been paralyzed, and the living beings are constantly reminiscing. These recollections seem to be lighter than weight, but they are incomparably heavy. Like the letterhead that is pressed deep in the drawer and has not been able to spur the courage to open the seal, the first sea will be buried deep in the memory valley, but in the future, every day and the evening, the people who are dead will be left behind. All weights of the person. In the film, the mother who died of her boyfriend told the early sea: "Life is constantly losing, and looking for the true self in the loss." "I remember under the cherry blossoms" walks at a gentle pace, passing through the life and death, walking through the sorrowful valley, walking through the days that once thought it was embarrassing, naked to the memory itself, facing the fact that it is constantly losing, The power and light of life are discovered. Nakagawa Ryotaro talks about memory, talks about life and death, and tells the most painful subject in life in a light way. Regarding those who have already left, may regret or be stunned, but they cannot be chased. Climbing the life with poetic language, he exquisitely expresses the innermost emotional flow and precipitation of the human heart, and counts the sigh of death and the sigh of life. 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, interesting interviews and movie articles. (adsbygoogle = window.adsbygoogle || []).push({});

The creator picks up the film | "The essence of life is the most exciting movie", photographer Zhang Wei

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As the 2017 Taipei Film Festival is about to begin, Polysh invites several creators who love to watch movies in the fields of writing, music, performing arts and photography to talk about their "movie love". One day a creator picks up the film and shares how they "watch the movie." Also in image creation, the relationship between film and photography is very close, and even affect each other. Photographer Chang Chang, who has lived in Eastern Europe since 2003, is currently based in Slovenia on the Balkans. With a deep humanistic story and people's status in different environments, he has been working and living in Taipei and Europe for a long time. He continues to collect stories in words and images. This year’s latest photo collection, “The Escape Scene on the Back of the Moon,” was the first time that the refugees crossed the border in Europe in 2015, Zhang Wei went to the border between Slovenia and Croatia, and near the center of the refugees in the Slovenian-Austrian border. Distance image record. This time, I was even more fortunate to invite Zhang Wei to talk with us about how I walked into photography from the very beginning of the film, how to see the relationship between the two, and my love for the film. The essence of life is the most exciting movie. The movie has 20 grids per second and 24 hours a day. If the person's life is converted into a negative film, it can be 24 circles around the earth. Everyone chooses to perform their own movies in their own way. Zhang Chang, who has lived in Prague, Czech Republic since 2003, is currently based in Slovenia on the Balkan Peninsula. Focusing on the marginalized people ignored by the mainstream society, Zhang Wei successively photographed the largest psychiatric hospitals in the whole of Central Europe, the country hunters, the traditional Czech circus, the Hungarian Gypsy village, the Czech A film industry and so on. At present, Yu Xuexue has performed a solo exhibition of "Left Atrium Right Ventricular", exhibiting nearly 300 works in Europe and Slovenia, in the 14 years of living in Europe. Photography © Xiaotian / 阮玺张雍 Simon Chang, who lived in Prague, Czech Republic since 2003, is currently based in Slovenia on the Balkans. Focusing on the marginalized people ignored by the mainstream society, Zhang Wei successively photographed the largest psychiatric hospitals in the whole of Central Europe, the country hunters, the traditional Czech circus, the Hungarian Gypsy village, the Czech A film industry and so on. At present, Yu Xuexue has performed a solo exhibition of "Left Atrium Right Ventricular", exhibiting nearly 300 works in Europe and Slovenia, in the 14 years of living in Europe. Photography © Little days / The essence of life is the most exciting movie. The movie has 20 grids in one second and 24 in one day...

Writing the humanity's teasing with technology: "Path from G planning"

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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!