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Text [Part 2] Chapter 82 Talking about Movies (Part 2)

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    Kangkang later told Du Xinghe and others based on what he had learned about the current situation in the past two years. In recent years, Taiwan Film has almost had an average of more than 50 films being screened in theaters a year. People no longer only regard movies as personal matters like in the past.  With the realization of ideals and artistic achievements, coupled with the investment of many funds and venture capital companies, the word "recycling" has become the primary goal of many movies and producers.  ¡ËKangkang is deeply touched by this, because his "One Hundred Thousand Urgent" did not do very well in terms of investment recovery.  Making movies to make money is not a very sinful thing, but in the name of commercial films or genre films, the quality of the films does not necessarily mean they can only be shot to pieces.  Taiwanese movies are gradually beginning to have this trend. There are more and more entertainment movies that claim to attract a large number of audiences. However, in the vast sea of ??movies, there are very few movies that can really balance the box office and quality, so there are still  Many works are not commercial at all and have no genre at all.  Zhu Yanping, who has been supporting the Taiwanese commercial entertainment film Half the Sky for more than 30 years, also released "The Houses" in 2014, starring Xiao Jingteng, who is both warm and homely, always waiting by the side of the beautiful girl Jiang Shuying, and finally moved his heart.  The old story of true love.  Zhu Yanping also put together a lot of laughs in the anemic plot, some fresh and some old-fashioned, and it is almost impossible to escape the impression of Zhu's works.  Even more frightening is Huang Chaoliang's "A Scoundrel Meets Love", which insists on taking into account both sides of the Taiwan Strait and "sucks" it into the story. It tells the story of a young man who owes money and comes to Taiwan to sell his grandfather's land in Kenting.  The plot required a group of difficult townspeople to sign a consent form, and a bunch of local actors came in to make guest appearances; but the whole story was wishful thinking to the extreme, trying to be both funny and tear-jerking. It was completely different and lacked details. Both the images and the script were messed up.  Nothing new.  Extremely embarrassing.  Cai Yuexun's "Ruffian Hero 2" continues the route of the previous episode, but gets even more serious.  Originally, the conflict between two extreme types of police detectives, the ruffian and the hero, was the biggest feature of this TV series that was transferred to the movie. With the change of actors and the change of scale, Cai Yuexun turned it into another attempt to compete with  A pure action movie compared to Hollywood standards.  Due to the obsession with special effects and large-scale explosion scenes, the performance of the second part went from bad to worse, and it was reduced to just chasing, running, jumping and bumping.  There is no action movie of that type with corresponding dramatic tension; the worst thing is that many of its large-scale action and visual effects scenes are not perfect, and can even be seen as artificial.  Cai Yuexun's courage is commendable, but as far as movies are concerned, it is still an obviously pale and failed work.  "The two movies that competed during the Lunar New Year festival both chose the Taiwanese-style local route that has been the most popular in recent years.  "The Iron Lion and the Jade" is directed and acted by Peng Chacha. It is obvious that he wants to copy the operation mode of "Array Head". One line is about the love of youth idols, and the other line is about local skills and passion.  It's a pity that Peng Chacha is still just a lip-smacking joke, which is more than lively and has no sense of cinema. The story itself is not interesting at all.  Comparatively speaking, although Ye Tianlun's "Dadaocheng" is more impressive, it still suffers from excessive greed and fantasies about combining creative ideas and commercial elements at once.  The main theme is traveling through time and space. Through a famous painting, Yu Sheng and Zhu Geliang are transported to Taibei City a hundred years ago, but they have their own plans.  It's a pity that the fun of flipping through time and space didn't last long.  The story suddenly enters a serious theme, with Jiang Weishui's impassioned spirit and the Japanese's arrogance and domineering.  Let the film become a serious historical film.  Of course, Zhu Geliang does not necessarily have to be a gag, but after introducing historical themes, the audience will no longer view everything in the film solely as a comedy.  Between joking and using military force and realistic discussion, even if the director has a strong sense of mission, he still has to face an inevitable dilemma.  ¡° Several literary and artistic films have plans to consider the audience¡¯s preferences, but they have not been able to find completely accurate operating methods within the proper genre rules.  So that everyone has the trouble of being stretched.  "Waiting for Coffee", which has the best box office performance, is directed by Jiang Jinlin, one of the executive directors of "The Girl We Chased Together", but from the original work, adapted script to the multiple identities of producer, the strong "Nine Knives"  "The smell is everywhere.  Different from "Those Years."  The single-line narrative of "The Girl We Chase Together" is pure. Although it is also about youth love songs, "Waiting for Coffee" connects three sets of love stories in different time and space. It is very obvious that it intends to cater to different types of audiences in one go.  Sometimes it's kuso (a curse word with the original meaning of "hateful"), sometimes it's literary and youthful, and occasionally it strays out of the nostalgic style of retro Taiwanese films. Often before it gets used to one, it suddenly jumps to another atmosphere, which makes it seem tonally confused.  Fortunately, things got back on track in the second half. As long as you are willing to believe that the power of true love is enough to move mountains and seas, the innocent, silly, yet persistent and courageous view of love in Nine Knives still seems to be the most charming magic gold dust.  "Just One Minute" and "Reversal Victory" are two examples of similar situations.  "Just One Minute" takes the touching relationship between humans and dogs as its selling point, interspersed withThe love story between Jun Ning and Peter Ho between a strong woman and a weak man.  Women are often caught in a dilemma between juggling their careers and returning to family life. Unfortunately, female director Chen Huiling only grasped the key points, but failed to capture the depth of the film, making the conflict between the male and female protagonists become too cliche like playing house.  On the surface, the side plot of the dog is not enough to support the strong emotional kinetic energy, so that the film becomes a bit like boiled water, not boring, but it is indeed light and bland.  "Come Back" is a seemingly neat sports inspirational movie.  "Mayday" member Wen Shang-yi (Monster) plays the role of a frustrated has-been pool player. Originally, his life was only accompanied by bottles of wine. It was not until he took over the custody of his brother's old pool shop and his daughter that he finally began to face life.  The characters and plot settings are almost traceable. It seems that all the ups and downs have been laid out, but it just lacks the power to shake people's hearts.  "Come Back" is certainly not a bad movie, but it seems to be scripted without any surprises, and every aspect seems to lack a bit of punch and is not up to the mark.  In 2014, there were still many new directors who broke out, some completed their first feature films, and some continued to create in difficult circumstances.  The only three films that are really exciting are "Sonata of Light", "Chilling Effect" and "Kano", and they just show the completely different scales of small, medium and large productions.  If you don¡¯t emphasize that this is director Qian Xiang¡¯s first feature film, you might guess at first glance that the director is a woman.  This is one of the few films in Taiwan with a middle-aged woman as the protagonist. Photographer-turned-director Qian Xiang does not indulge in the beauty and sophistication of every shot, but rather seems to be returning to and continuing the tradition of new films.  Trade time for emotion, start from realism, add a little magical power, and get straight into the subtle and complicated inner world of the heroine.  There is no denying that this film is reminiscent of Tsai Ming-liang, but compared to Tsai Ming-liang, who is now an old monk, Qian Xiang is obviously more worldly.  Especially the predictable ax chisel marks on the finish.  Chen Xiangqi almost single-handedly supported the mood and rhythm of the entire film. It was difficult and heavy-weight, and she fully demonstrated her acting skills. Winning the "Golden Horse" was not a fluke at all.  "Kano", produced by Wei Desheng and directed by Ma Zhixiang, tells the story of the Kanon baseball team reaching the Japanese K-19 finals for the first time in 1931. It has the test of reconstructing the historical background, and contains the truth hidden in its bones.  It is as exciting and heart-shaking as any sports inspirational film should be.  However, "kano"'s efforts and ink in characterization seem to be lacking in details.  Just by looking at Hyotaro Kondo's interpretation in the movie, we only know his obsession, but we don't know the real moving reason behind it at all.  With a three-hour film length to narrate, after the excitement, many things are actually beyond its capabilities (including the special effects that many people have already pointed out).  "Chilling Effect" challenges another unflattering subject. A freshman in college played by Amber Kuo is sexually assaulted by a music professor played by Leon Dai, causing a storm inside and outside the campus.  Wang Weimin is also one of the disciples who followed Yang Dechang. He mastered this subject that may fall into stereotypes quite well.  Especially the second half of the courtroom drama, which focuses on the complex sexual and power relationships between several women, at least maintains the dramatic tension of the drama.  It has achieved a social realistic issue that is rare in Taiwanese movies.  Several other works by new directors are not mature enough.  "Come on Boy" is obviously a product placement film funded by a sugar factory, and there are traces of influence from "Cape No. 7". Unfortunately, the musicality is not enough, and the inner conflicts of the characters are too far-fetched.  "So You're Still Still Here" talks about the dilemma between people and faith, describing the story of a fake lama intervening between a pair of resentful families who lost their children, and finally each of them gained redemption.  The subject matter is deeply specific, and as a result, the spiritual and emotional power of the film is very limited. It is a pity that the two actors Lu Yijing and Huang He performed well.  Li Ding's "The Unreachable Place" is about two young people taking a motorcycle trip. Although it is not as unbearable as the previous work "The Sound of Love", it is still filled with the unbearable feeling of living in another world.*  *Style emotional grief.  As for "Waste" and "Boar Hot Spring".  The former talks about the emotional gap between urban and rural areas, while the latter depicts the emotional journey of losing a loved one and gradually healing the pain. Both films sincerely speak out for the Taiwanese land, but both only maintain the basic level due to the pressure of a very small implementation budget.  face limitations.  "Today's Violence" was jointly funded and filmed by a group of young filmmakers with an average age of less than thirty years old. It is based on Arthur Miller's classic play "The Crucible", making this classic  The text of the stage play is presented side by side with the adapted version in modern campuses. As a result, there is no need to compare the two. Instead, they are artificial and incompatible with each other, and the actors' performance also appears to be embarrassingly staged.  Another film that is also trapped by the original stage script is "Aurora Love" adapted from Li Guoxiu's classic play. In response to the shift from stage illusion to film realism, the script has not been adapted appropriately. When the North Pole does not  Shot in real scenes, the pain of lovelorn can only be interpreted as neither painful nor painful.At a time of great sadness, the film was doomed to fail.  In the field of documentaries, there were still a few documentaries that were "squeezed" into the theater system in 2014, but they no longer experienced the turmoil of 2013. The only documentary that was widely released was probably "Mazu Naitaiwan" directed by Ren Xianqi.  However, overall this film only "keeps up" with the religious fanaticism of Mazu's circumambulation in Taiwan. It lacks depth and breadth. It is not so much a documentary as it is a big-screen version of the popular "walking program" on Taiwanese TV.  Version.  Therefore, although the topic was not small, the box office and reputation were not satisfactory.  The other few films are all very small-scale films focusing on Taibei.  "War Wine" opens the timeline based on the historical background of sorghum wine brewing in Kinmen, but it only achieves a running account and product placement marketing that is like singing praises, and it is difficult to discuss it within the aesthetic category of a documentary.  In the end, there are probably only two documentaries with truly high-level performance, "The Nesters" and "The Rest of Life: Seediq Bale".  After the prosperity illusion of "Twelve Nights" and "Seeing Taiwan Bend" in 2013, Taiwan Bend documentaries have finally returned to normalcy and are no longer regarded as hot-selling commodities that can be manipulated into populism.  "The Nesting Man" won the million-dollar first prize at the 2013 Taiwan Film Festival. It was delayed for almost half a year before it finally had the chance to be released.  This documentary, which is less than 60 minutes long, uses a flexible and self-conscious camera point of view to capture the unspeakable tension between an autistic son and the single father who takes care of him.  Between getting close and watching coldly, Shen Keshang mastered precise scheduling, allowing this cruel and unbearable nakedness to be presented to you and me, while maintaining the due observation and dignity of the subjects. The power to shake people's hearts is extremely powerful.  .  "The Remaining Life - Seediq Bale" is like a complete supplement to the feature film "Sediq Bale". It tells the past and present of the Seediq people, and even the Japanese perspective is nuanced.  The statement, coupled with the beautiful and poetic photography and sound effects, makes everything return to the real world beyond the chaos.  Du Xinghe didn¡¯t expect that Kangkang had researched the Taiwanese documentary market. Obviously, this older brother really wanted to make some achievements in the film field.  Du Xinghe also really wanted to help Brother Kang.  At the end of the day, Du Xinghe drank a little too much. He made a promise to Brother Kang. If the company allows him, he is willing to be the leading actor in Kang Kang's next movie to help Brother Kang become a hit in the future.  Hong, he admires Brother Kang¡¯s talent.  (To be continued, please search Piaotian Literature. The novels will be better and updated faster!
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