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Text [Part 2] Chapter 81 Talking about Movies (Part 1)

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    The box office of most small and medium-sized Taiwanese films in 2014 was around NT$10 million, almost all of which were heavy losses.  Among them, probably only Zhao Deyin's "Ice Poison" made a big contribution. Due to the low budget, it was almost recovered just by selling the copyrights of various countries in other places.  Although many people do not agree that box office determines life and death, the box office performance of Taiwanese movies in 2014 was indeed not particularly impressive.  When Kangkang said this, he sighed a little. He was very optimistic about the film industry before entering this industry, but as soon as he entered, he caught up with the downturn of the entire market.  Taiwanese films seem to have increased production volume in recent years, with the influx of talents and the emergence of new directors. Every year there are new talents who are making feature films for the first time, but in fact there are only a few that can produce good works above a certain level.  There are only a handful of them.  In 2014, Hou Hsiao-hsien's "Nie Yinniang" is still only heard of the stairwell, and Sylvia Chang's "Nian Nian" has been postponed to 2015. Fortunately, Tsai Ming-liang's "Outing" has been released grandly, breaking the usual commercial film screening format, allowing a group of people to watch the movie.  The Taiwanese film market will not be without any major works throughout the year.  After Taiwan's "New Movies", several senior directors who started their creative careers in the 1980s also released new works in 2014, including Yi Zhiyan's "Operation Codename Sun Zhongshan" and Li Gang's "I Want to Be".  "Fly", and Wan Ren's "Car Fight", with different results.  Directors in Taiwan are increasingly seeking cooperation with mainland funds. In 2014, there were several "co-productions" with Taiwan crews as the main force and staying in Taiwan for filming, but their fates were very different.  For example, "Military Garden" had limited box office success in Taiwan, but had no chance to be released in mainland China. The sequel "Ruffian Hero 2" directed by Cai Yuexun was adjusted to cater to the tastes of mainland audiences.  The production route did well at the box office in mainland China, but the Taiwanese market was relegated to secondary importance.  John Woo's "The Wheel" and Luc Besson's "Lucy" were also shot in Taiwan.  It caused a lot of talk, but the former only accumulated NT$53 million in box office, while the latter exceeded NT$380 million in one fell swoop, ranking second in Taiwan's annual box office list.  More and more film crews are considering filming in Taiwan. Martin Scorsese¡¯s new film ¡°Silence¡± is expected to be filmed in Taiwan in the spring of 2015.  Perhaps, this can also be regarded as another new outlet for the local film industry in Taiwan.  Introduction to Kangkang.  Facing Taiwanese movies throughout the year, "Outing" not only remains the best in artistic achievement, clearly leaving other movies behind in one fell swoop; it is also the most "formal" among the Taiwanese movies officially released in 2014.  "The most unique one.  Director Tsai Ming-liang originally did not want it to be released in theaters through regular channels. Later, he made a compromise and only scheduled 50 limited screenings in a few theaters in Taiwan. As a result, the tickets were sold at a premium, and it became a big hit from the pre-sale. In the end, it was almost  All sold out.  It was half a year after it ended.  He used photos, light, projection, and installation art, as well as the screening of two films, "Outing" and another interview documentary "That Afternoon," to hold the "In "Montue Beijing Normal University Art Museum" in Taibei City.  The special exhibition "Outing in the Art Museum" has given "Outing" a new and new attitude that can be appreciated by the public.  "Outing" is the tenth feature film directed by Tsai Ming-liang.  This time, Li Kangsheng has changed from the "Youth Nezha" who had nothing to do in Ximending to a father of two children. He is a temporary worker holding signboards for real estate advertisements on the street, with no fixed livelihood.  The two children had nothing to do but wander around the glamorous hypermarket.  The English title of the film is "Stray Dog", which seems to be a symbol of a certain living situation of a family of three.  This is also Yoshimitsu Kataha who does appear in the film.  The film is full of images of "home", both inside and outside the play, tangible and intangible, a densely entwined emergence.  In the past, the family formed by Lee Kang-sheng, Lu Yijing, and Miao Tian in Tsai Ming-liang's movies seemed to have evolved from the ghost-like ending of Miao Tian in "What Time Is It Over There" and the plot in "Face" where his mother died but was reluctant to leave.  Evolution and continuation of the family to the next generation.  And "well-off" became "father", and as for the physical house, it became a dilapidated ruin, even like the entire distorted and changed city of Taipei.  The pace of Tsai Ming-liang¡¯s movies is often slow.  But often in performances that do not seek speed, we seem to be able to detect the myriad clues in life and gain insight into the cruel carvings of time passing by.  Li Kangsheng's face is full of vicissitudes of life, and his performance is more like the accumulated skills of more than 20 years, which no one can match.  Even Taipei has changed from Yang Guimei crying in "Long Live Love" to Li Kangsheng and Chen Xiangqi staring at the mural on the wall without emotion.  It's the same tears. Between the wailing back then and the expressionless tears now, there are so many years and life experiences accumulated in between.  Time is indeed a colorless, tasteless but extremely critical element in Tsai Ming-liang¡¯s films, just like water to the human earth, silent and critical.  "Outing"It has become one of the most unforgettable movie-watching experiences for everyone throughout the year.  Zhao Deyin, who came to Taiwan from Myanmar to study and make films, has an experience similar to that of Tsai Ming-liang who came to Taiwan from Malaysia and West Asia and returned to Taiwan from international fame.  "Ice" is his third feature film, but it has made greater progress and maturity than the previous two films.  He once again focused on the Thai-Myanmar border, which regarded Taiwan as a blessed place for saving money, capturing those who broke through nationality and racial barriers and struggled desperately for the basic needs of life.  "Ice. Poison" seems to have almost no plot directly related to Taiwan; but the charming realism charm of the film that controls the relationship between the characters and the environment under the camera is hard not to smell the influence that has been coming from Taiwan's new movies since then.  Inherit the scent.  This time, Zhao Deyin showed more precise and skillful scene scheduling and editing rhythm, allowing every scene in "Meth" to achieve a full degree of dramatic effect within limited resources.  Zhao Deyin proves that making a good movie does not necessarily require spending a lot of money. The most important thing is to keep practicing and improving from the works, so that you can gradually get rid of the novice's jerkiness and develop a mature author's style.  He is definitely an important figure that will attract continuous attention in the future of Taiwanese movies.  Niu Chengze's "Military, Middle, Happy, and Garden" has also become his most popular work since "The Way of Survival in Love Is Not a Last resort" until now.  The most mature and generous work.  If interpreted simply, it is the growth history of a young soldier. Through the perspective and experience in the army, it touches on everything from human life and death to physical pain; it is also a macro and microcosm with a strong political nature, overlooking  Taiwan's fate is absurd, helpless, and pitiful.  It seems to be history, but it seems that it has never been solved.  To put it bluntly, Niu Chengze is describing an era that was familiar or unfamiliar to you and me.  On the small island surrounded by the sea (Jinmen or Taiwan?), no one has true freedom and happiness. Under the twisted rules of the game, every character chooses to use violence and deception to protect themselves.  Niu Chengze has produced his most visionary and mature report card since his film career.  In addition to the big theme, it not only retains the melodramatic elements and dramatic charm that he is good at, but also achieves a soothing and interesting effect by switching and blending the narrative.  Even though Niu Chengze's original intention was just to tell a tragic song that belongs to the times for his father's generation.  But in the end, he still managed to capture a composition that transcended his personal feelings, making "Military Paradise" Niu's masterpiece.  Wan Ren, one of the stars of new Taiwanese films, also released his long-awaited new film "Car Fight".  This film continues Wan Ren's consistent reflection and criticism on political and historical themes, but this time he changes his tune and presents it in a comedy way.  A Taiwanese girl fell in love with a young man from the Mainland, and finally brought her parents and elders across the sea to propose marriage. Due to cultural differences, it turned into a huge battle between the two sides over language, concepts, and relatives turning into enemies.  To be honest, the themes and techniques are not new, and there are only sporadic highlights and touching moments.  There are almost no surprises at all.  Another similar work is "Want to Fly" by Li Gang, which describes the struggle and growth of a flight school student between facing love and pursuing the ideal of taking off.  Li Gang stepped down from the role of producer to concurrently serve as director. His intention to make an epic and inspirational blockbuster was obvious, but in fact, the thunder was loud and the rain was small. His love story was too "pure love" and lacked a twist; he only filmed flying and aerial combat.  It's like a bluff without any real conflict or crisis.  This is a flat movie with almost no "ups and downs".  It's like the stage bend in the 1970s.  military.  teach.  The retro fusion of the two genres of film and Qiong Yao film is reproduced, sparkling with surprises.  Yi Zhiyan's "Action. Action. Code. Sun. Zhongshan" is the feature film he has finally completed since one of the three-part film "If Love" in 2005. However, it has become a Taiwanese drama.  Movie outliers.  Its appearance is like the youth campus movies that everyone loves to shoot now, and it looks realistic.  The result is extremely stylized; the subject is serious, but unexpectedly it has a comic spark.  The protagonists of the story are two high school students. They fell in love with the bronze statue of Sun Zhongshan in the school storage room that had been gathering dust for a long time, and wanted to move it away and sell it for cash.  Yi Zhiyan "played" the story of stealing the bronze statue into a fable.  The two male leads, Zhan Huaiyun and Wei Handing, who were selected from auditions, were obviously a bit jerky in their performances, but the director made good use of their temperaments and made the entire movie deliberately sincere.  Those "stupid" lines that were repeatedly repeated on purpose made people feel stiff and awkward at first, but later, they seemed to be ironic rebellion again and again.  It is a work that is far richer on the inside than it appears on the outside. Between the laughter and curses, it conveys an extremely heavy message - the gap between the rich and the poor.  Rather than saying that Yi Zhiyan photographed teenagers, the author feels that the faces hidden behind those "beautiful girl masks" are actually sensible but ashamed adults.  Several directors who only started making their first feature films after the "new new wave" of "Cape No. 7" in 2008. In 2014, they all launched new films that were different from their previous films in an attempt to embrace the audience.  Find a balance with your personal style.  "The Secret" is Lien Yi-chi's second feature film. He has been working behind the scenes for many years. He has a flexibility that is different from other young new directors. He always stays within the genre tradition that is rare in Taiwan.Make a bold breakthrough.  This time, "Sweet Killing" is a combination of suspenseful police crime and friend comedy. From a trivial incident of a puppy eating chocolate and dying, it accidentally turned into a major case that attracted much attention.  Ariel Ariel and Su Youpeng each play two policemen who deliberately change the stereotyped gender image and do not know each other without fighting. One is overly serious and the other is careless, creating a contrast.  The tone of the film is lighthearted and humorous, with an exaggerated sense of irony. Although the suspense of the plot is too simple, many imaginative plot designs still reveal Lian Yiqi's unique personal style.  From "Flying Against the Light" to "Accomplice", Zhang Rongji's changes are even greater.  "Accomplices" describes the story of three boys on a high school campus who unexpectedly form an alliance after encountering the corpse of a girl from the same school lying dead in an alley. However, due to another accident, the secrets and shadows of the three people's different personalities gradually reveal themselves.  The film's photography and imaging style are outstanding, and its atmosphere is accurately controlled. However, in comparison, it reveals a lack of complexity in the plot and character sculpture.  As for Zhuo Li's "White Rice Bomb Guest", the subject matter is very courageous and ideal. It describes the famous Yang Ru family case in Taiwan. He planted a homemade small bomb to attack the enemy.  The government protested against the poor conditions of farmers due to cheap rice.  The film only achieves the tragic power of the characters themselves due to real events. The plot is too trivial and scattered, and the side characters are also uneven. It is a work with a larger issue than the quality of the film itself.  The story of "Seven Designs of Love" by Chen Hongyi revolves around a total of seven people in a design company, who form the main interpersonal network of the whole film. It depicts workplace struggles and generational differences, mocks the superficiality of the rich second generation, and mocks the nature of the design industry.  He also doubts the authenticity of love.  The most important thing is to focus on the word "design" because everything is calculated.  The film starts with a joke about Taipei City striving to be the World Design Capital in 2016, and occasionally inserts special effects shots of sudden changes in the urban landscape. Chen Hongyi is obviously concerned not only about the love and hatred of the protagonists in the film, but also what the environment is like.  Unknowingly, there have been changes that neither you nor I expected.  There is no freshness or country humor. It is full of unabashed intellectual cynicism, but it also boldly points out dissatisfaction with reality and anxiety about the future. This film reminds me of Edward Yang.  Chen Hong's fascination with the city and the corresponding panic have become recurring themes in almost all of his works.  Of course, this new work is not perfect, and some parts still have the old problem of being too clear and superfluous, but its courage and vision are inspiring. Between narratives, discussions, laughter and curses, whether you like it or not, you can't  Denying the indisputable fact that it has written a new style for Taiwan movies.  (To be continued, please search Piaotian Literature. The novels will be better and updated faster!
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