The four seasons flow, and the flowers bloom again. This autumn, we once again embarked on the road of movies, met all the people with aspirations, re-perceived the charm of images in the ocean of movies, and once again resonated with the voices left by history. We are committed to presenting the richest Flowers Film Festival, as well as depicting a new and better future picture, and all these concepts and original intentions are settled in the final presentation unit of this Flowers Film Festival.
Humans’ imagination of the outside world has become the original demand for action, driving generations of “Marco Polo” to explore the oriental land where honey and milk flow. After seeing news, the new medium has become a window to explore the distance. In the media age, with the explosion of information, the distance is no longer far away, and the imagination of wonders has gradually become a perception of reality. The two works selected for the opening of the Blossom Film Festival, “Gone With the Wind” re-perceived the reality of the Tibetan imagination in terms of creation, while the classic work “The Last Emperor” re-understands the fate from the audience’s acceptance level.
“Gone With the Wind” continues the creative line of the “Tibetan New Wave”, showing the emotional, spiritual and ethical situation of the Tibetan community. However, it blurs the region and the era, grasps the oppression of the strong and the weak, sinks and grows, and instead makes its narrative more universal for discussion. It presents gender limitations in real life from a sharp perspective and the religious oppression of “women are not allowed to go to the sacred mountain to simmer mulberry”. This direct attitude writes about women’s plight and resistance, combined with the interpretation of human and god of religious belief, makes people want to climb Gera, who went to the mountain, gradually transformed from a human to a god.
As for the textual logic of “Flying with the Wind”, it is derived from the work of the same name by the famous Chinese writer Alai, “Flying with the Wind”, so it inherits the tradition of Tibetan elements as the logic of life, but with a concise plot and characters Transformation constitutes the logic of reality, but the ethical attempt is close to daily life, and goes beyond the connotation of ethnic minority themes as a retreat for spirituality and ideals. This spiritual breakthrough culminated in the last scene of Shangjinshan. In the feminist vision, concepts summarized in various abstract words, which were once invisible shadows, became visible and perceptible elements in this scene. This removes the barriers of reality.
The classic work “The Last Emperor” has been well-known for a long time. It tells the life experience of the last emperor of the Qing Dynasty, and links his individual destiny to the grand historical destiny. Such an individual image has since become a character symbol and sustenance of historical lamentation. . It is from God to man that he strips away the identity endowed by the collective unconscious and returns to the proposition about man. As a biographical film, the film connects historical logic and artistic presentation in a good way of combining reality and reality, and points out a path of neo-historic polyphonic statement for later works.
In this, the discussion about people in the Renaissance and the lament of fate in European tragic logic are brought together, and with the help of the imperial landscape of the ancient East and the turmoil of the family and country in a special period, a spectacle-like work is presented. Today, the classic re-screening of “The Last Emperor” is based on the level of audience acceptance, allowing the audience to re-understand its connotation with a vision that spans the time dimension.
Based on this perspective, the Flowers Film Festival constructed the theme of the opening unit with the idea of God and people, and tried to open another possibility of imagination at the level of creation and acceptance. The original identity of the film has the spectacle attribute of Méliès. As the opening unit of the Flowers Film Festival, we trace the origin of the film itself and try to present a feasible new path for the contemporary era.
“Female perspective” has gradually become a creative trend in China. Various related words have gradually entered the popularized context of social expression, and have also become a kind of thinking in film creation. The creation of women’s films has gradually begun to produce a wave of new trends. In most female film creations, the idea of subjectivity is to use women as the main consumer to complete the narrative of the chick film; or to retell the irreversible predicament from a low perspective. For the selected works in the “Female Perspective” section of the Flowers Film Festival, they all jumped out of the convention, took women as the narrative subject in an innovative spirit, rewritten female emotions, and emerged a new female perspective.
“The Willow Waves Hearing the Orioles”: Ambiguous and chaotic nostalgic emotions
“Smell the Orioles in the Willow Waves” calmly reproduces a period of gold-painted old times with nostalgic eyes, in which gender is fluid. Along with the emotional chaos, ambiguous narrative branches unfolded. Chuitie and Yinxin are good sisters in reality, and they are Liang Zhu on the stage of opera. They blur the feelings of each other. This is not like “Farewell My Concubine” and “Ghost Love”, which tells about gender identity. The focus of the film has changed to delicate emotional analysis and the choice of the times. Under the wave of the market economy, art and commerce seem to be facing each other, and the choices they make with each other also reveal the division of the future path.
The work returns to the era of China, recalls the voice of the era with collective memory, unearths the stories scattered in the era, and makes the retro narrative a spiritual obsession, in which it balances the retro feelings with the examination of implied reality. . Whether it is the competition for emotional relationship or the choice of art and commerce, it seems to imply the creator’s sentimentality for the current fate and the expression of uncertainty and uncertainty about the future fate.
“Myth of Love”: The Establishment of the Subject of “Post-Feminism”
“Myth of Love” jumps from the retro narrative to the modern background of modern Shanghai, opening a chapter in the modern life of contemporary new youth. In the film, the male who mastered the emotional initiative has changed from the conventional narrative of the past to a female, thus an upside-down narrative of the previous sexual power has been carried out, and the confusion about sexuality in women’s emotions has been broken. This presentation pulls the female perspective into the development of post-feminism. In it, “Myth of Love” removes the politicized artificial concept, finds the daily lament of ordinary people with the expression of life emotions, and disintegrates lightly and smartly. The concept of gender opposition, return to the perspective of harmony, and explore the emotions of female subjects in the harmonious coexistence of the two sexes.
In “Myth of Love”, its emotional subject narrative responds to the needs of current women to seek identification, for self, for love, and for marriage and sexual relations. Women do not need to explore their own side as an object, nor do they need to explore the formation of their own complex political concepts, they can maintain their full power, identify with their own desires, and no longer feel ashamed.
“Hello, Li Huanying”: The Re-inquiry of Motherhood
“Hello, Li Huanying” focuses on the mother’s identity, excavates the emotional pain points of the broadest audience, and becomes China’s box office miracle in 2021. It puts the vision back in the retro era of collective memory like “The Willow Waves”, but the difference is that “The Willows Hearings” writes regrets, while “Hello, Li Huanying” makes up for the regrets. The daughter in the story travels back to the past through time and space, and makes a type of story statement that is incomprehensible in time but soothing in the heart. In this, the unsolved cultural proposition of why the tragedy we are concerned about is no longer the center of the statement, it constitutes an invisible background of the story, linking the memories of all audiences who were children. What really becomes central is a renewed invocation of motherhood, or love as motherhood.
In this, the regret has not been really made up, the tragedy of life has not been really reversed, but the problem has been solved with the love of the mother again, a path that cannot be realized by an individual, realized by motherhood, and given to the audience for comfort. This fits right into the definition of a genre film, although in a strict sense, “Hello, Li Huanying” is a reinterpretation of a real-life story.
In contemporary times, feminist propositions and their dilemmas are constantly being captured by creators, opening up a new hot spot for film creation. The Flowers Film Festival responds to the demand for realistic discussion with a female perspective unit, and presents contemporary Chinese female films from the perspectives of nostalgia, post-feminism and identity with three films, “Wenying in the Willows”, “Myth of Love” and “Hello, Li Huanying” The three-fold possibility of creation continues to expand from the level of chronological order and ontological thinking.
Years and Nearest Units: The Double Connection of Epic and Reality
Examining the development of films from the perspective of time is a necessary idea to watch the development of a certain type, but this idea has also become a model in the expression of film creation, a strategy used in the past, making the epic model connect with reality, and In turn, it interprets ancient motifs from a realistic perspective, exploring propositions that have never been solved but have always been explored in human history. The works of the “Near Years and Nearest Days” section of this prosperous film festival start from the dual dimensions of epic and reality, grasp the context of time and space, and perform and interpret the core motif.
“New God List: Nezha Rebirth”: The Mythical Redemption of Cyborgs
As an important figure in Chinese classical mythology, Nezha has been continuously interpreted by contemporary film creators, forming a series of rich connotations. In this work “New God List: The Rebirth of Nezha”, the narrative and character structure continue the core connotation of the characters and become the core of the protagonist “Li Yunxiang”. However, the wonderful thing is that it creatively integrates the cyberpunk worldview, combining wasteland science fiction and the Republic of China background, creating a wonderful visual perception. It is precisely because of the hybridity of the background of the times that this background can accommodate the bizarre narrative with great inclusiveness and expand the meaning of the film itself.
The development of Chinese animation is a process of continuous rebirth and deconstruction of ancient myths. From “Princess Iron Fan” to “Havoc in Heaven”, to today’s “Nezha Rebirth”, they are always reflecting on the present and themselves. and scrutiny. The proposition of “Who I am” is embedded in the narrative of reality in this way, connecting reality with epics, and constantly turning transcendence into contemporary experience.
“Stone Epic”: The Humanistic Breakthrough of the New Myth
For epic stories or mythological stories, their logic is usually based on the classical era. However, the contemporary era has gradually developed into the era of large-scale industry, and today’s myths have been constructed by commercial logic. It is from this logic that “Epic of Stone” excavates a new myth of economic circulation. The blood of this myth is logistics, the lifeblood of the contemporary economy, so following this blood flow, we can experience the global landscape of commercialization with China as the core.
The unique feature is that, as a documentary, the protagonist of “Stone Epic” is no longer a human being, but a piece of marble that is constantly being carved and transported and gradually changes its appearance. This unique perspective anthropomorphizes the object, precisely forming the From a relative perspective on the materialization of human beings, he gradually breaks through contemporary mythology with a humanistic perspective, analyzes its mechanism and logic, and removes its mysterious material worship.
“The Case of Qiu Ju”: The Primitive Ethics of Real Space
From the repressed senses in “Raise the Red Lantern” to the logic of life in “The Case of Qiu Ju”, from the attempt to explore the mundane in “Judou” to the writing of ethnography in “Alive”, the sequence of director Zhang Yimou’s early works is as follows: So perpetually insists on expressing ethical reality. Here, he either describes what is repressed or what should be presumptuous, and the original ethical discussion has become his main theme. The basic structure of the triple jump allows “The Case of Qiu Ju” to construct a unique civilian space between urban and rural areas, and the logic of reality is directly displayed in it. The combination of the two presents an ordinary character like Qiu Ju.
This film brings the perspective of the “Near Years and Nearest Days” unit back to reality. It is different from the materialized myths of the industrial age and does not agree with the epic rereading of the cyber background. It takes a realistic vision for the agricultural civilization and the development of China’s agricultural civilization in the past and the future. Urban civilization makes a comment, paying attention to individual people and collective people with a straightforward and simple gaze.
The development of film is closely related to time. Some people make it an element of artistic creation, and some people grasp the process of time to achieve contemporary myths. For the Flowers Film Festival, to construct a film unit in the dimension of time is to re-examine the interaction between the inside of the film text and the outside of the film’s reality from the perspective of time. In the “Near Years and Nearest Days” unit, we will be able to re-observe the ambiguity of time and savor the rich perception of the connection between epic and reality.
Emerging Light Unit: New Samples of Contemporary Young Authors
The history of film development seems to show a certain temporal iterative law. In contemporary times, it has gradually fallen into some kind of structural confusion. Film language innovation and narrative expression have gradually begun to dry up. Contemporary young creators have to face a vast situation. Faced with this dilemma, people continue to come up with their own answers. From the old perspective of genre and author, they penetrated into the depths of different themes and content, and walked out a new path of experimentation with the uniqueness of expression. For this reason, the Flowers Film Festival presents a unit that belongs to young people – “Up-and-coming”. In addition to short films, there are also feature films directed by two newcomers, “River Day and Night” states the author, while “One and Four” appeals to genres, constituting an attempt at intertextuality.
“River Day and Night”: New Excavation from the Author’s Perspective
“Day and Night River” returns to the long-discussed intimate relationship. The father-son relationship used to be the most stable connection in Chinese society. However, it sets up a father and son who have no blood relationship or even exchange identities. future pain. The film uses strong oil painting quality photography to form a new picture of the Yangtze River, and its flowing river water alternates between day and night, which is in line with the ancient sigh of “the child is on the river”. Whether it is through the massive adoption of fixed shots to keep the mirror language estranged from the characters’ hearts, or dialogue in dialects, most of the time inert character constructions contribute to a somber style that combines the cold and The quiet climate has reconstructed a new sample of contemporary youth creation.
The unique aesthetics of “River Day and Night”, which will never be copied by others, lies in the re-creation of the boatman’s space. Compared with any other means of transportation, boats have the connotation of wandering and being helpless, affecting the hearts of characters and making them empty. This motif has been repeatedly narrated by director Wenders. But “River Day and Night” excavated the connotation of a new home for boat transportation, making it a poetic habitation, and re-established the sense of belief of the boatmen.
One and Four: A Remix of Genre Fables
Different from “Day and Night River”, “One and Four” is more based on genre and industry, blending the textual connotation of fables, and re-walking a path of young directors. It uses the “Blizzard Villa Mode” and “Rashomon” truth retelling for dual use, combined with an unconventional and crazy perspective, in a closed space, it implies the choice of human interests and the psychology of dark undercurrents. In this film, the Tibetan vision of director Jiu Meicheng has become the identity element of the characters and the background composition of the narrative. What really becomes the foreground is the re-manipulation of the suspense type.
The four appeared as forest rangers, police officers, and villagers respectively, and under the suspicion of each other, they subtly presupposed their positions for the audience. So after a series of positions unfolded, the director made reversals again and again, leading the audience to develop rational thinking beyond sensibility. At the same time, the film’s abstract naming and unending presentation elevate the text to the level of allegory, and enter the realm of philosophical thinking with a metaphorical presentation. Although suspense has become the foreground as mentioned above, the Tibetan vision still gives the film a unique background. The plot of releasing deer and killing rabbits seems to re-explore the concept of animism with the instinctive desire of human beings, presenting a post-Tibetan The creative vision of the subject.
What a tedious piece of art it would be if movies were forever stuck in the golden age of the past, and if our creations were chewing on the masters. Therefore, the “Up-and-coming” section of the Flowers Film Festival is specially set up for young creators. The works of new directors shine here, showing the multiple appearances of the youth landscape. The creations of a group of young directors will be the audience of the Flowers Film Festival. Provide new thinking and vision.
Rich and colorful, vivid and outstanding, this is the face of the Flowers Film Festival’s unswerving commitment, and it is also the expectation for the future development of Chinese and Italian films. The Flowers Film Festival combines the perspectives of the four units and the combination of long and short films, and is accompanied by abundant forum discussion activities, and finally builds a splendid picture of film creation. Through the Blossom Film Festival, new strengths and voices will be transmitted, and new expectations will come again. We expect that the curtain of communication and exploration will be opened here.Return to Sohu, see more