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Video parameter film English name: durian durian film Chinese name: Durian fluttering film classification: story film color: color sound: Voice film Origin: China Hong Kong Technical Company: Waiting for the Year: 2000 Video Length: 100 minutes Film Planner Director Chen Fruit starring Qin Hai
The drama is laid in the backhand of Mong Kok, the illegal immigration girl Affin, the Shuang-Cheng Ji arrogant, "Nugget", "Nuggets", has launched friendship. Time is here, Awe is on the reappearance of life and return to the north of the snow. She decided to divorce with her husband, start her own business. She received a parcel from the south. It turned out that Afen sent a big grenadi. The pungent taste immediately brought her into memories. Everything in Hong Kong is still close, eating on his hand. Garrency, all kinds of taste is full of heart ...
"Durian flutter" success and criticism
Xiaoyan is a young and beautiful girl in Mudanjiang, she uses a tourist visa in Hong Kong to fight prostitution. After three months, she returned to her hometown. Everyone knew that she made a lot of money in the south. One day she received an unexpected gift, a huge durian, that is Afen to her. Affen is an illegal living child who has expired in Hong Kong. She told Xiaoyan, she has been caught by the police and sent back to Shenzhen. At this time, many young people around the swallows are sitting on the train to the foreign land, and they are "going outside." Chen Guo once aligned his lens to the city's middle and lower class, still the discipline of the unhappy, and the Jinjin Lao Road for the citizen culture and the prosperity of folk slang, can be said in this sense. Chen Guo in the "Durian Flutton", inherently, he has compared his personal style that farewell to the nine seventh triller. But we can't think of the efforts of his changes in "Durian fluttering". I think it is important. In fact, even those who look similar surface factors in this movie are also a different color. If we can't distinguish these subtle differences, although those who have only liked Chen Guo movie will continue to like this "durian fluttering", but due to the loss of freshness and unexpected expectations, This kind of like is not to be a big discount. For example, some people say that Chen Guo chose the subject of the city's marginal (prostitute!) This time, it is not wrong, but in the second half of the film, this summary is lack of persuasiveness. Xiaoyan's lives at the Mudanjiang City can represent a young man who represents a hundred percent of the young people (if strictly followed the film's hint, this is undoubtedly too conservative); and Mudanjiang City? I am afraid that it can find its shadow in the 51st small and medium-sized cities in China. It is said that she is an urban margin, no matter how couldn't be said. Because of this, "Durian fluttering" is fortunate to be one of the farewell nine seventh tours. The film first is worthy of attention is the fine crafting of the playback structure. Xiaoyan's two-stage life (Hong Kong and Mudanjiang) seems to be patch up with a blunt posture and then put into a movie. However, if you pay attention to carefully arranged plot factors and visual factors, you will feel a faint approximately between the two parts of the film, but there is everything that is everywhere: Hong Kong's Xiaoyan is an indifferent high-speed operation. Machine, in front of her, is a countdown term and followed the days of "full hope"; Mudanjiang Xiaoyan is a pedestrian who has reached the other side, but life does not have a heartbeat. The trivial, ordinary and the babies that itching, the urgency of the youth, the impure, the passion is difficult to inhibit, so I have a wish that I will never look back also has a temptation in the distant trick. In this sense, the film name "Durian fluttering" is like two image grafting, representing the fruit of the fruit of the fruit of Hong Kong in the South City, and the fluttering of the peony river represents the northern city. The film ended in my appearance has the most abstract composition of the whole film. Xiaoyan stands at the golden segmentation point of the screen horizontal line, the lens is pushed from the vision, and then it means that it will be deeply stationary. Snow has fallen in her surroundings. We can feel this look that looks still young young people. Hong Kong and Mudanjiang are like two very different stages, Xiaoyan plays an opposite role on it. Hong Kong is a highly developed modern city, Kai Yan as a prostitute coming from mainland and does not enjoy its material civilization. Xiaoyan is just a group of strangers, and even her own is unfamiliar. I lowered myself to the lowest, she might be able to make prostitution into a legitimate occupation. The tight life rhythm, it doesn't matter during the day, people and naked interest relationships and virtuality and the snakes, and the loss of morality is probably her deepest feeling for Hong Kong. In the Mudanjiang, Xiaoyan played a Shuishun daughter, a friendly friend, a young man with thoughtful courage and a small achievement.
This is how different from her with Hong Kong, she is like a Mudan River, she is alive, and has become a meat. It is an acquaintance here, and everyone should not have a secret. The life here is slow, day after day, there is a hustle-time, and there is also her teen memories. In short, it is warm and safe, which makes people relax, but it can't satisfy the desire of the heart of the young people. The reason why it is because we can't recognize it as a complete, true little swallow, which is the difference between the two. The film is unstable, and the turmoil and tension and fixed lens caused by the fast shear, the long lens causes soothing and calm comparison to highlight the difference between the two cities and two lives to people, thus conveying the owner Emotional subtle differences.
Some scenes have fun, such as the use of mirrors. The film has a plot of the documented from the mattress with the hacker, this plot is taken from the bed of the bed, and there is a hint of voyeur, but the voyex is not only such a private. The scene of "child is not suitable", more means that there seems to be accidentally peeked into Xiaoyan's inner world (this plot has a detail of the last half of the film, Xiaoyan takes out the night. From the perspective of the passbook, the close-up of the passbook shows a small number of expenditures. This further two details replaced many intense external movements showed Xiaoyan's inner world. A strange place with a stranger The identity is selling flesh and dignity, just to win in another place, others look more important to dignity). Wait back to Mudan River, many interior shoots start a large number of mirrors. Often a lens has been conducted for a long time, we have become accustomed to the position, suddenly the lens turned, we found that it was shadow in the mirror. Ye Shengtao's "Suzhou Garden" said that the smart use of the mirror can make the garden with limited space seem to be even more spacious, but the mirror is actually the opposite role. The mirror makes the room have been promoted more, and the narrow space between people is further compressed. I don't want to think about it, it is not difficult to understand, although the mirror is like expanding a space, but if someone is present, then the number is also doubled, especially when someone walks, this move is also doubled, how can it be dazzled? How to breathe? Such contributions are in parallel with local intended interpersonal relationships. It is unprincipled, it seems to be careful, but it is very deep. This is almost a kind of image annotation that Xiaoyan's many places in Xiaoyan. The film also seizes the emblem of the bath. Bath, that is, Hong Kong people so-called flush, this action is repeated in the movie. Xiaoyan's rush is just that a must have an essential procedure when you receive guests. When Xiaoyan plays a fading foot before the camera, when the senior is kindly advised to minimize the number of rinsing, we can strongly feel the alienation of the bath, which is undoubtedly human alienation. A signal. It is said that Xiaoyan is taking a bath in the Mudan River, which is sudden insert in the ongoing plot, and its narrative function is substantially equal to zero. There is no sound in the picture, and Xiaoyan is a touch of contact with the guests. The bath was dealt with a warm soothing here. We first saw Xiaoyan to cherish his body and stayed. At this time, we can find that she is in Hong Kong's crazy prostitution is not like it seems to be syndrome and calm. . It is basically in the bathroom in the small hotel. It is a private space, but we have seen the deepest Xiaoyan; while the bath in Mudanjiang is in the public bath, but we But I saw the most authentic and direct reveal of Xiaoyan's emotions, which didn't even have it even more in relation to your loved ones and friends. It is very meaningful to play like this. Due to many of the plots and visual factors in the front and rear parts (such as the red belt of Xiaoyan waist, there has never been intended in the line, but we know that it is a bitter business that is a symbol of peace, not only There is an ubiquitous contrast, and this contrast is often complemented, parallel, and reflects the artistic connotation of the film, enhances the artistic appeal of the film. The film deliberately avoided even masking the possible conflict, (such as Xiaoyan and Father who have to learn to dance, the girl go out, the opinion is left, and then the public bathroom is originally a symbol of the rude violation of private space, but We are surprised to find that there is no one in the Xiaoyan taking a shower.) This requires amazing gramwork, the absence of the drama plot, forcing the audience to focus on the daily life of the chickenfarlic skin, which forms a movie. Art passion.
On the other hand, this restraint also prevents the development of the theme and the possibility of polymity, exposing some degree of mediocity to some extent. Xiaoyan's life attitude is a bit confused, which has never emerged in Chen Guo's previous film. Her emotions are not ure, and the behavior is not intense. It seems that it is very calm, there is a kind of practical grasp of my life, but I think about it, it seems not to be. She is never numb, but there is a vicissitudaus after seeing, she knows that she is relieved and self-stretching. Xiaoyan's life, including the people around him, and the calm attitude seems to focus on the eyes of the creator. When a consideration in the micro revelation replaces the criticism of the sharp society, does this mean that Chen Guo's successful transition from youth director to middle-aged director? Article Source: Oriental Charm Star Network "Durian fluttering": stinky with sweet [2004-5-7 - Click 265] Realistic style. Before I saw this movie, I thought that most of Hong Kong's director did not know very well on the mainland. From many movies, it is more likely. So Chen Guo, let me be shocked. The whole feeling and Jia Tangkai is so similar! Perhaps because it is small cost, maybe because I like to be realistic, maybe because I don't want to escape some. There is no great idea in the brain of these two directedations, what kind of videos should be taken? They do the use of limited conditions to complete some of their own people, a period of time, a society. These transactions have formed impressions in their minds, how do they restore, can't have slight distortion, even if it is banned, what is it? Want me to change your own cognition? impossible! So we saw such a lens, color and dual white. The front and backends of the film are completely different from two worlds. The heroine is first caught in, and then it is constantly struggling. There are things you want in both sides, Hong Kong has a lot of money, and your feelings are still pinned in the hometown of wind and snow, that is, how do you choose? The two townships inside the film are reacted in some things in the society that are chasing and desire. The stinky durian has the most delicious flesh, will you use your courage to bite the first mouth?
