Seek professional film reviews of The Three Gorges Good Man and Elegant Marriage.

"A Good Man in the Eyes of Three Gorges People" I was born by the Yangtze River, and my grandmother's wooden house has always been a memory at the bottom of the river with the Three Gorges Project. Being in a foreign country, seeing a movie about the Three Gorges has made me lose my discrimination. Mountains and rivers, grass and trees, are as familiar as the hometown specialty bacon that my aunt just gave me, which makes me lose interest in all kinds of French ham.

So, when we are calm now, we can think about this movie carefully.

Jia is from Shanxi, so he continued to write about the Three Gorges from the perspective of two Shanxi people. Although we can't grasp the social situation in our hometown like Ren Xiaoyao, it is more wonderful than the world. Taking the Three Gorges Project as the background, it is easier to grasp a distinct sense of the times than a complex metropolis.

Compared with Xiao Wu, this film lacks a cathartic climax. Although there are clues such as extramarital affairs and finding a wife thousands of miles away, its suspense is not wonderful, and its wonderful degree is not even as good as tabloid social news. This is the beauty of Jia's films, or that Jia has found his own narrative style, not relying on plot and suspense to fulfill the audience and himself, because the reality has never been fulfilled.

Perhaps the director dare not make up an unfamiliar life without authorization. The film does not describe the living conditions of the Three Gorges immigrants in detail, but it successfully shows the whole environment. The real Three Gorges is like that mottled wall, those blank eyes and those naked black shoulders, and it is by no means as elegant as the TV landscape film. All the scenery is beautiful, light as paper money, and the life behind it is often heavy.

The economic level of towns along the Three Gorges has been hovering around the poverty line. Even after the Three Gorges immigrants, many blind constructions, vain projects and even misappropriation of resettlement funds made the Three Gorges immigrants sacrifice not only their hometown below the water level. What is even more frightening is that the environmental effects brought by the Three Gorges Project have begun to appear, and the extinction of the baiji is an example.

As a Three Gorges man, the Three Gorges Project was once a boastful capital. "Merit lies in the present, benefit lies in the future", there is such a propaganda slogan on the Three Gorges site. But gradually, I feel a kind of vanity. I didn't win much envy when I told foreigners that we had the largest dam in the world. It's like boasting that you have the most precious gold teeth in your mouth, but everyone knows that they are not natural.

As for UFOs, this one is quite Marquez-style magical realism. In fact, China today is full of absurdity. For example, all kinds of people in movies have mobile phones, but they may not be able to solve the problem of food and clothing. For example, the leader shows off the bridge built with people's fat and paste, just like showing off his plaything. This absurdity may be far greater than the appearance of UFO, so the protagonist in the movie is indifferent to it, and they care about the survival of daily necessities.

More than one director in China tried to show his concern for the bottom with extras and original ecological performances, but either he used a fairy tale ending to make the tearful audience forget those sufferings after they walked out of the cinema. Or look down on all beings from the perspective of a merciful God and let the audience think that their watching is a kind of pity and charity. Jia's films put this ambiguous concern aside, just telling you the fact that whether you watch this film or not, whether you are moved or not, there are such people and such lives in reality.

At the end of the film, Sanming and migrant workers will go to Shanxi to work in a coal mine with a high casualty rate. For them, there is no hope, just moving from one kind of suffering to another. Still alive, just alive.

When a person walks into a cinema, he is either looking for fun or seeking truth. If he wants to feel sensual pleasure or erotic reality, then he can go to another hall. Of course, you know which movie I'm talking about. Therefore, we must continue to be sincere in doing business.

"Best Domestic Film in 2006" When China movies are more and more like China football, fortunately, there are always some surprises every year, so that we won't be completely desperate.

For me, the surprise of 2006 belongs to the quiet Maronites, Tengu, glorious anger, crazy stone and tuya's marriage.

Among these surprises, tuya's marriage may be the most perfect one.

The story tells that in the increasingly arid grassland of Inner Mongolia, her husband Bater dug a well with disabled legs, and his wife tuya alone shouldered the burden of the family. Long-term fatigue has caused pathological changes in her lumbar spine and even the danger of paralysis of her lower limbs. In order not to delay tuya any longer, Bater decided to divorce. Facing the reality, tuya can only agree. But she insisted on the condition of remarriage: the new husband must support Bater by himself. Thus, tuya's difficult mate selection process began.

Tuya's Marriage is unusually calm and unconventional against the background that China's films are becoming more and more vulgar and less intelligent. There is no "main theme" in the empty space, and it is also different from some "niche" and "underground" works. Tuya's Marriage is characterized by "truthfulness"-the plot is true and the performance is true. Different from the "realism" that tries to reflect the truth, but in fact the creator lacks life experience or has ulterior motives and can only take it for granted in the end, tuya's marriage is real realism.

Like all great realistic creations, tuya's marriage reflects the real life itself, and there is no deliberate "drama" here. But the truth of life successfully presented in the film is really exciting enough to impress the audience. Movies have friendship, affection and love, but they are not cheap romance or illusory surrealism, but real human feelings.

The plot is true. Bater insisted on divorce because of his physical disability, but his helpless behavior showed warmth and tolerance. The ending of the film is that tuya finally remarried. In reality, there is really no way to arrange for two couples to take care of each other at last. Tuya's late husband, Sanjay, is almost the ideal remarriage partner for tuya, but the end of the film tells us that even if Sanjay and tuya two of a kind really accept Bater, their marriage is still unhappy, and there are still many difficulties and variables waiting for them in the future. This kind of design, beyond convention, is still an accurate consideration and grasp of life by film creators.

In the middle of the film, after his old classmate who had a crush on him for many years proposed marriage, tuya really thought about it for the first time. However, when the old classmates took tuya and his children back to the city and left Bater in the welfare home, Bater, desperate, committed suicide after drinking, and the old classmates refused to rescue him, which finally prompted tuya to choose to stay in the grassland and stay with Bater. Because of this, tuya and Sanjay gradually approached. A series of ups and downs, whether old classmates have a crush on tuya for many years, or Bater's suicidal thoughts caused by drunkenness, or tuya's reprimand to Bater after being rescued, and the old classmates' hesitation and calculation after receiving the distress call, have definitely restored their lives, without fabrication or taking it for granted.

As a professional actress, the heroine Yu Nan gave an absolutely high-quality performance, presenting an extraordinary life of an ordinary Mongolian woman in an absolutely three-dimensional and absolutely true way. The role of tuya is not easy to interpret, either it will slip into a vain and sad girl with bitter flowers, or it will become a single-minded paranoid. Fortunately, Yu Nan handled it well, and tuya's tenacity and simplicity were fully demonstrated through her restrained performance. Several scenes with strong emotional explosive force show Yu Nan's superb performance skills, which are beyond the reach of a large number of self-righteous vase actresses in China cinema. Although the Golden Rooster Award has gradually become a laughing stock, at least from the perspective of Yu Nan winning the Golden Rooster Award, the choice of the Golden Rooster Award is correct.

There are also a large number of non-professional actors in the film. Although it has become a common practice to use non-professional actors in local films in recent years, non-professional actors are at a loss and stiff when facing the camera. Whether the performances of non-professional actors and mass actors with high quality can be trained is one of the criteria to judge the film quality and director level. Obviously, The Marriage of tuya is a success. No matter whether the playing time is short or long, almost all the roles played are extremely eye-catching, without stage fright or exaggeration. No supporting actor can say "not human words"-now, the whole line is "not human words", which has become one of the labels of domestic large-scale production-and there are no common problems such as repetition, exaggeration and affectation in the performance of body movements in domestic film and television dramas, which are all vivid.

When it comes to tuya's marriage, it's hard not to compare with the good people in the Three Gorges. They were released at relatively close times. Both the director and Jia are "the sixth generation" and have a certain reputation in Europe (Wang has won some european film awards, but his influence and popularity are not as good as Jia's). They also like to use a fixed cast (Jia is Wang Hongwei and Zhao Tao, while Wang is). In addition, more importantly, both films pay attention to the real life and feelings of the bottom people in China.

However, tuya's marriage does not bear a grand theme like the Three Gorges Good Man, and the two films stand from different angles. The creators in tuya look at life like tuya and live in it. Jia, on the other hand, is standing on a high place, looking down at everyone with pity (although he has God's perspective, no God can change the world).

Wang Quanan, like tuya, can see that the world is changing and the times are changing, such as the increasingly desert grassland, the neighbor's wife running away with others for money, the luxurious and absurd hotel outside the barren county, the phone number of the lady in the hotel in the middle of the night and so on. But they have no time or mind to think about the meaning behind these, because busy and hard lives always follow.

It is said that tuya's Marriage has been shortlisted for the Berlin Film Festival, but unless it wins the grand prize, the audience in China will only be less than the Three Gorges Good Man, although the former is more story-telling and ornamental than the latter.