Dear release information

Real and touching

First of all, the main characters and stories of "Dear" are derived from real "anti-trafficking" incidents; secondly, this kind of parent-child theme itself is a "big tearjerker", I believe those born in the 1980s still have fresh memories of the movie-watching event caused by the movie "Mom Love Me Again" many years ago. Faced with the human tragedy of "separation of flesh and blood", no matter how rational the audience is, they will probably become soft-hearted.

The look is down-to-earth and the actors have good acting skills

The movie itself and the plot don’t have many surprises from the beginning. The details of losing the child and finding the child are what everyone usually talks about in the news. I saw a lot of them here. A rather special design is that Huang Bo and Hao Lei, who play a divorced couple in the film, after losing their children, find a "mutual aid organization" composed of parents who have lost their children, led by the couple played by Zhang Yi and Zhang Yuqi. Everyone encouraged and supported each other, and the couple found their son together, which became a bright spot in the movie.

The first half of the entire movie is almost Huang Bo Xunzi’s one-man show. Huang Bo, who comes from a grassroots background, completely brought this middle-aged loser who runs a shabby Internet cafe and whose wife left with the rich man to life. Every expression and movement is heartbreaking. After Huang Bo went through all kinds of hardships to find the child, in the second half of the film, the focus shifted to another starring Zhao Wei.

It is very painful for families who lose their children, and when the children are rescued, the families who later adopt the children also suffer the pain of losing their children: this is what the film wants to convey to the audience in addition to "anti-trafficking" The unknown world unfolds. The protagonist of this world is the "village woman" Zhao Wei, who appears completely bare-faced, wearing rustic clothes and messy short hair.

The pain for the lost child and the hatred for human traffickers that the audience has accumulated along the way following Huang Bo are now revealed by the " "Stepmother" Zhao Wei had a reversal: what seemed like the resolution of one tragedy turned out to be the beginning of another tragedy.

In addition to Huang Bo and Zhao Wei, other protagonists such as Hao Lei, Zhang Yi, Tong Dawei also contributed touching acting skills, and because they showed their "human brilliance" when facing children, these Celebrities who are usually aloof look particularly cute and amiable, just like when everyone watches "Where Are We Going, Dad" and falls in love with the dads in it. (Tencent Entertainment review)

The story mainly takes place in Shenzhen. It begins with a picture of a humid and dim urban village, with network cables and wires intertwined, and village houses densely packed. Tian Wenjun came to the big city from his hometown in Shaanxi to make a living. He rented a shop in a crowded urban village and opened an Internet cafe. He has been supporting his married life by living alone. Eventually, he divorced his wife Lu Xiaojuan due to a breakdown in their relationship, and their child Tian Peng was taken care of by both parties. Wear a belt. In the opening scenes, Chen Kexin realistically presented the migrant population entering a big city and living in an urban village, as well as the unique spatial images of an urban village. The urban village in the film is actually in Guangzhou, not Shenzhen. But why should the story be set in Shenzhen instead of Guangzhou? Guangzhou also has a large number of outsiders. Because Shenzhen is an immigrant city, certain details and dialogues in the film reflect the characteristics of an immigrant city. Tian Wenjun held his son in his arms and taught him Shaanxi dialect, "His eldest uncle, his second uncle, they are all his uncles." At this time, Lu Xiaojuan said: "Don't speak dialects, speak Mandarin." This is part of the process of integrating into the immigrant city for outsiders. This portrayal may be due to the director's lack of understanding of urban dialects and the fact that only Mandarin is the common language in big cities. This simple dialogue appears twice in the film, and there is some kind of echo between these two times. For the first time, Lu Xiaojuan asked Tian Wenjun not to teach his children to speak dialects but to speak Mandarin so that they could completely break away from their hometown and integrate into the big city. When it appeared for the second time near the end of the film, it was Tian Wenjun who spoke this line of dialogue. It also asked Tian Peng to forget the "hometown" where he was abducted and reconnect with life in a big city.

Li Hongqin is a relatively tragic character. A rural woman learned overnight that she was the wife of a trafficker and that her two children did not belong to her. She came to Shenzhen alone to find a lawyer and wanted to get the custody of the girl Jifang back. Zhao Wei's interpretation of Li Hongqin was vivid and wonderful, and her emotions were touching. The attack on the police at the police station was due to sudden changes and the inability to accept the reality of the forced separation of mother and daughter. The director's scheduling and the actors' performance were not out of control. As the second main line, Li Hongqin can actually be very provocative, but there are not many provocative parts. One of the scenes is when Li Hongqin came to the Shenzhen Welfare Institute and wanted to see Jifang, but was rejected by the director, so she climbed up the water pipe at night. Looking at Jifang through the window, little Jifang is also crying for her mother. In the end, Li Hongqin was designed to be pregnant. The result of this reversal left Li Hongqin with mixed feelings, but whether this setting was a more optimistic treatment (Li Hongqin could be pregnant and have her own flesh and blood) or a pessimistic treatment (having a relationship with the friend of her dead husband) Unexpected pregnancy, not to mention the inability to get Jifang back), every audience should have their own opinions. This is also about a certain paradoxical relationship between family affection and blood ties. (Tencent Entertainment review) Excessive sensationalism

"Dear" strives to please the audience from beginning to end, trying its best to sensationalize it in the hope that the audience will shed tears. However, the overexerted Peter Chan makes the film feel more like a TV series. As for the complexity of the plot and the richness of the content, it would take several episodes of "The Legend of Zhen Huan" to be truly tear-jerking.

Perhaps it’s because Chen Kexin has deep affection for every character in the story, whether it’s Huang Bo and Hao Lei who are looking for a child, Zhao Wei who secretly takes care of the older child, or the man who is full of stories about looking for a child. Zhang Yi has many stories and his own helplessness, which makes the entire "Dear" welcome the climax of the characters anytime and anywhere.

The 133-minute length is destined to make the movie unable to carry too many stories and emotions. Because whether it is Huang Bo, Hao Lei, Zhao Wei, or Zhang Yi, the roles they play, their stories and the emotional resonance inspired by the stories are enough to support a complete work.

However, in "Dear", they had to weaken themselves and accommodate the needs of others. This kind of accommodation makes the originally plump characters become somewhat distorted. Even when one of the characters roars, the emotion that should have exploded cannot be directly conveyed, making the audience scream. Instead, it feels like a slap in the face. The heavy blow on the cotton made all the efforts in vain.