How to evaluate the film "Dear"

Not bad, really touching. First of all, the main characters and stories in Dear are born out of the real kidnapping. Secondly, this parent-child theme itself is a "big crybaby". Many years ago, a movie called "Mom loves me again" set off a grand occasion for watching movies. I believe that the post-80 s people still remember it. In the face of the human tragedy of "separation of flesh and blood", I am afraid even the rational audience will be soft-hearted. Of course, this has a lot to do with the actor's good acting skills, and the shape is grounded. The film itself, from the beginning of the plot, there are not many surprising places, the details of losing children and finding children, we usually see a lot in the news. A special design is that Bo Huang and Hao Lei, who play a divorced couple in the film, find a "mutual aid organization" composed of parents who have lost their children, led by a couple played by Zhang Yi and Yuqi Zhang. Everyone encourages and supports each other to find children together, which becomes a bright color of the film. In the first half of the film, it almost became Bo Huang's one-man show. Bo Huang, who was born at the grassroots level, completely brought this middle-aged loser who broke into an Internet cafe and his wife who left with the rich. Every expression and action made people sad. When Bo Huang struggled to find the child, in the second half of the film, the focus shifted to another starring Zhao Wei. It is very painful for a family to lose a child, and at the same time when the child is rescued, the family that later adopted the child also suffers from the pain of losing the child: this is an unknown world that the film tries to show the audience except "abduction". The protagonist of this world is Zhao Wei, a "village woman" who appeared in the camera, dressed in rustic clothes and with messy short hair. The pain of losing children and the hatred of traffickers accumulated by the audience and Bo Huang along the way were reversed by Zhao Wei, a stepmother who loved her children deeply and was miserable because she didn't want to be separated from them. The seemingly tragic solution has become the beginning of another tragedy. In addition to Bo Huang and Zhao Wei, Hao Lei, Zhang Yi, David and other leading actors also contributed touching acting skills, and because they showed their "human brilliance" in front of their children, these usually high-flying stars were particularly lovely and amiable, just like everyone would like the dads in Where is Dad?

Main content: The story mainly takes place in Shenzhen. From the beginning, it was a damp and dim picture of a village in the city, with interlaced network cables and wires and dense cottages. Tian Wenjun came to a big city from his hometown of Shaanxi to make a living. He rented a shop in a mixed village and opened an Internet cafe. He has been living as a husband and wife by allocating a house. Finally, his wife JODY divorced because of emotional breakdown, and his child Tian Peng was taken care of by both parties. In the first few scenes, Chen Kexin presented a more realistic spatial picture of floating population entering big cities and living in urban villages. The village in the city in the film is actually in Guangzhou, not Shenzhen. But why should the story be set in Shenzhen instead of Guangzhou, which also has a large number of foreigners? Because Shenzhen is an immigrant city, some details and dialogues in the film reflect the characteristics of an immigrant city. Tian Wenjun held his son in her arms and taught him Shaanxi dialect. "His big uncle and second uncle are his uncles." At this moment, JODY said, "Don't speak dialect, speak Mandarin." This is a portrayal of foreigners coming to immigrant cities to integrate into them, and perhaps it is also the director's ignorance of urbanization. Only Mandarin is the meaning of the common language in big cities. This simple dialogue appeared twice before and after the film, and I took care of these two times. For the first time, JODY asked Tian Wenjun not to teach children to speak dialects, but to speak Mandarin, in order to let them leave their hometown completely and integrate into big cities. At the end of the second time, it was Tian Wenjun who said this conversation. It also wants Tian Peng to forget its kidnapped "hometown" and get back in touch with life in big cities. Li Hongqin is a tragic figure. A rural woman learned overnight that she turned out to be the wife of an individual trafficker, and her two children did not belong to her overnight. She came to Shenzhen alone to find a lawyer and wanted to get back the custody of the girl Ji Fang. Zhao Wei's interpretation of Li Hongqin is vivid and touching. Assaulting a police officer at a police station is because of sudden changes, which makes people unable to accept the reality that mother and daughter are forcibly separated. The director's schedule and the actor's performance are not out of control. As the second main line, Li Hongqin can be very emotional, but the emotional part is not too much. In one scene, Li Hongqin came to Shenzhen Welfare Institute to see Ji Fang, but was refused by the dean. At night, he climbed the water pipe to see Ji Fang through the window, and Xiao also cried for his mother. Finally, Li Hongqin was designed to be pregnant. The result of this reversal is mixed with Li Hongqin's opinion, but no matter whether this setting is optimistic (Li Hongqin can be pregnant and have her own flesh and blood) or pessimistic (accidentally pregnant with a friend of her dead husband, and even unable to bring Ji Fang back), every audience should have their own views, which is also a paradoxical relationship between family and blood.