China Entertainment: Director’s happiness is so simple

The movie continues.

Everyone at the scene realized the biggest problem around the 6th minute.

Is this "one shot to the end"?

Isn't the whole film shot in one shot?

With such confusion and shock, everyone continued to watch.

Soon everyone was attracted by the plot.

Along the way, the camera of the two protagonists passed over various ruins and shell craters.

Along with the fog that always hangs around the outside.

The cruelty of war and the immersive fear of the unknown cannot even be dispelled by sunlight.

The blue sky in the lens seems to symbolize survival, but it is so close and out of reach.

The artistic feeling produced by this kind of color pulling also makes people feel that this movie is really not simple.

Continuing to watch, the two protagonists came to the trench to look for food.

As a result, he accidentally hit the trap, and there was a bang, and the screen went black.

Full of tension.

Many people's eyes lit up.

This is definitely a cutting point!

So this is a fake shot to the end.

But this is already pretty awesome, it was almost ten minutes ago, right?

It can maintain the fullness of the plot and the picture is beautiful.

Really awesome!

Then the two people who survived continued to run away.

Come to the second scene.

The chopped plum trees all over the garden, the corpses in the backyard of the farm, the freshly pumped well water in the bucket, and the scattered fruits and vegetables are all reminiscent of Miller's oil paintings.

Those small Jiangnan towns shrouded in blue skies, with white walls and black tiles, are originally beautiful and make people feel quiet and majestic.

But this was supposed to be a fertile ground for ordinary people to live and inhabit, but now it has been reduced to ruins.

This is what war brings.

The scenes destroyed by the war are so sad.

Just when everyone was silent in this "past tense", the "present tense" came.

The two protagonists encounter a lone Japanese army.

They met on a narrow road. In order to prevent the Japanese army from making a sound, the short protagonist accidentally died together with the Japanese army.

In the footage, the short protagonist played by Bao Qiang performs a live passage of life.

He turned pale, then struggled, and finally died.

The acting is excellent and makes you feel deeply sorry for the soldier.

At the same time, everyone also noticed the skillful and clever use of camera techniques in this scene.

As the camera moves, first from the front, then turning around, it focuses on the tall protagonist.

The cutting mode of ordinary movies can still be so smooth at the bottom of one shot.

Many people at the scene couldn't help but nod: There is indeed something to this photography!

Then the movie continues, the companion sacrifices, the tall protagonist takes the gun from the Japanese soldier, and the plot enters the third scene.

And this big scene is also the most visually shocking.

The tall protagonist goes on the road alone, and the movie officially enters the "Battlefield Game" mode.

This is a novel experience from a third perspective.

That is to say, in later games such as Chicken Dinner, it was as if God controlled the protagonist to walk and perform actions from the perspective of God.

While avoiding the pursuit of Japanese soldiers, the protagonist hid in an abandoned room and saw a woman holding a baby. The two were scared and hungry, and the protagonist gave them the little food they had left.

It's just that this heartwarming scene only flashed by, and before the protagonist had gone very far, he saw with his own eyes the brutality of the Japanese army.

Civilians were queued up to be beheaded, and women were raped and killed.

The woman and baby who had just been rescued also fell in a pool of blood.

The protagonist who saw all this through the gap in the wall gritted his teeth. Not only the protagonist, but also the audience present frowned.

Although these scenes are all medium and long shots, the cruel sense of animality is overwhelming.

This is war!

No, this is a crime against humanity!

The protagonist cannot bear it anymore.

Just when he was about to act impulsively, a hand suddenly stretched out from behind him. It was an injured person who grabbed him.

After a brief conversation, I learned that the other person was a reporter, and that he was a reporter who was originally a traitor. His job was to serve the Japanese army.

Because I couldn't stand the evil, I secretly took photos and ran away, but I was shot.

At this time, the Japanese soldiers came in pursuit. When the reporter saw this, he felt that he would be discovered and could not run away, so he opened the camera, took out the film and handed it to the protagonist.

After some explanations and pulling, the reporter used his last strength to distract the Japanese soldiers, and the protagonist was able to escape.

Then gunshots and laughter rang out soon after. Needless to say, the reporter was dead and had been tortured to death.

The protagonist was not having a good time either. He didn't run out of Duanyuan, but turned around and met the enemy in a dilapidated house.

There was a confrontation in the darkroom, the door opened nervously, and with a bang, the protagonist and the Japanese soldier fired at the same time.

As a result, the Japanese soldier died, but the protagonist did not die. He fell down the ruins and was buried by soil, wood and rocks.

The excitement of war games explodes again.

Everyone at the scene was shocked.

At this time, I no longer care about where the editing points are in any shot. I have already found a few, and the picture is so beautiful.

I only think about whether the protagonist is dead and whether I can escape.

When the protagonist pulls away the bricks and soil from the ruins, it is already dark.

At this time, the most visually shocking and artistic part of the entire film comes.

The protagonist runs in the dark night, and flares continue to rise into the sky. In the eyes of the injured protagonist, what he sees is the light rising from the ground, reflecting on the scorched earth that was originally a beautiful town but has now turned into ruins. Above, the constantly moving light and darkness seemed to be an illusion in his mind, and in his ears were the huge explosions of artillery shells and the whistling of bullets.

Passing by a street corner, a church with a cross and a temple with Buddha statues were burning.

The orange-red fire engulfed the two religious symbols that symbolized human civilization.

The entire screen was filled with firelight and darkness.

The protagonist stands in the frame, with a long black shadow elongated by the firelight behind him.

Some film critics have reached a deeper point: the protagonist seems to be in hell at the moment, with an abyss behind him and fire ahead. He has nowhere to go and is desperate. This is about the protagonist, so why not talk about human beings?

Of course, the professional filmmakers present felt that the film had transcended technology and reached an aesthetic level.

Then before dawn, the protagonist jumps on the bridge reflecting the gunfire, which is almost a textbook interpretation of doomsday aesthetics.

When the camera turned, he fell from the waterfall and floated in the swirling pond, with pieces of falling plum blossoms at hand.

The plum blossoms fell on the river, and also on the corpses of countless civilians who had become giants.

There are old people, women, and children's little hands.

This nearly fifteen-minute clip made almost everyone at the scene feel that the war was really cruel and that the city called Nanjing was simply a purgatory. Fortunately, the protagonist escaped.

Finally, the protagonist followed the stream and finally arrived at the rear.

Rescued by a large army, the protagonist crosses the fields where countless refugees and soldiers are fleeing in order to deliver news from the city to the superior.

This scene is another extremely shocking long shot.

After meeting the chief, after the protagonist informed him of the situation in Nanjing, the chief said helplessly: There are more reporters from the Japanese army than there are wounded here. This is not the first time this has happened, and it will not be the last time.

Oscar chairman Sidney raised his lips slightly. He felt that Jiang Wen in the movie was right!

After hearing this, the protagonist went to the wounded area and handed the film to a little girl in the arms of an injured reporter.

At the end of the picture, there is the endless scenery of Jiangnan.

The camera moves. Behind it is a small town like a water town in the south of the Yangtze River. In the distance ahead is the vaguely visible city of Nanjing filled with gunpowder smoke. The refugees around him sang songs, and the protagonist picked up a gun.