On August 1, 1994, the 51st Venice Film Festival was very lively, and most of the shortlisted movies were a must-have for movie fans. The best screenwriter "Breasts and the Moon" is a childlike erotic film with great eroticism.

text丨Sairen

994, the 51st Venice Film Festival was very lively, and most of the shortlisted movies are a must-choose work for movie fans.

Best screenwriter "Breasts and the Moon" is a childlike erotic film with great erotic colors.

"Breasts and the Moon"

Peter Jackson With his not sweet childishness, he created a real mother-killing case to create a weird fairy tale with full imagination " Sin Angel ". That was the debut of Kate Winslet , but it was shining enough. It was a pair of laras who were committing crimes.

"Angel of Sin"

And another film about male and female thieves shakes the entire Venice water surface with Huer punk Huer metal rhythm. That is the genius work of Oliver Stone , "Born of Murderer".

"Born of a Murderer"

The most exciting thing for the Venice Film Festival this year is the Chinese. None of the two sides of the Taiwan Strait and the three regions can be missed, and they are all crowned. Xia Yu , who has no experience in acting, has become the youngest actor in the Venice Film Festival at present because of "Sunny Days".

"Sunny Days"

Du Kefeng , Liu Weiqiang and Chen Yuanjia won the Best Photography Award for their outstanding light and shadow processing in "East Evil and West Poison".

"East Evil and West Poison"

and Golden Lion Award was awarded "Long Live Love ", and the same side is "The Rain is Coming" from Macedonian .

"Long Live Love"

1 In the 990s, European and American movies that lived in cultural highlands presented their new round of divisions in the form of segmented movies. To the outside, it is to look to the east and to establish cultural compatibility in a quasi-root-seeking way.

Abbas and Hou Hsiao-hsien became the last darlings of the world's film industry at the end of the century. Many of their videos inevitably cater to it, but they soon returned to the life form they are most familiar with. Just like when Sato Tadao commented on Ozu Yajiro , he said that in his movie, there is no real Japan. And in Hou Hsiao-hsien's movies, what is floating around is a wider field than Taiwan.

Then Cai Mingliang , this film director with the most authoritative significance after the Taiwan New Film Movement. Is he describing Taiwan? At least compared with Yang Dechang's works, he is not as strongly local. Over the past 20 years, there have been very few movies facing the current situation in Taiwan, which almost forced Yang Dechang to become great.

Many Taiwanese directors’ voices about reality are not allowed. Cai Mingliang is not doing it. "Long Live Love" talks about a state of sojourning. Are Li Kangsheng, Chen Zhaorong and Yang Guimei really not home, or are they like burglars who love to steal, and their hands are hard to control. These men and women in the world are unable to control themselves, and the video is not displayed.

"Long Live Love"

In the space, they realize the loss of the subject in the form of an object. In this film with a rather bland plot, the most glorious thing about the sitcom is who admits first in the competition and who is the guest. Every time you are present, you have to prove your absence with another behavior. It can even be regarded as several passages similar to the American situation farce as one after another, breaking the bones and connecting the flesh and flesh.

This is space, and for items, specifically, it is a projection of food. For example, Li Kangsheng's play with watermelon, Yang Guimei's eating all the way. It can be understood as a supply to spiritual emptiness, but the deeper theme is a kind of rebound to one's own materialization.

Simply put, they hope they can become food, giving people energy and fun. Judging from the picture presentation, Yang Guimei's every time she appetizer was just to fill her stomach. Li Kangsheng threw away the watermelon that once became a bowling ball as garbage, implying that he would become a garbage himself. Whether it is Li Kangsheng or Yang Guimei, they did not fall in love with the food they mentioned. It is said that this is a highly materialized world.

However, the male and female protagonists of "Long Live Love" have even lost the possibility of objectification. The two of them have a job, the woman is a sales house, and the man is a sales house, which is called "Bone Tower". Both life and death need to be inhabited and placed. They all have to live somewhere, and they all need real material to maintain it. The root of the desire for a destination, but what Cai Mingliang repeatedly explained is that destination is just a concept, and destination itself does not exist. How do you understand this sentence? The soul, to put it in small ways, cannot live in a physical body. If the house is not good, the money is still not good. It needs to entangle and accept it with something similar to the soul. It’s like you buy a bed, but you may not be able to buy it for sleep. The reason is that simple, and material things alone are far from enough.

The movies that we are most familiar with may be Wang Kar-wai 's " Chongqing Forest ", Jiang Wen 's "Sunny Days" and Kim Ki-deok 's " Empty Room ". They all regard other people's homes as their own homes, and by the way, regard other people's love as their own love. "Long Live Love" also has this meaning.

Wang Kar-wai, Kang Wen and Kim Ki-deok's narratives all go in vain, which is a panic about growth, a suspicion of memory, and a rebellion against reality. But it brings out some complacent and pride, and reveals an intoxicating fragrance. Someone has left traces of living in the places where they entered and exited. They are stepping into the concrete lives of others and spreading their imagination for this.

"Long Live Love" is not that specific, so it does not provide hallucinations, and it becomes even colder. The three characters seem to be filling the suspended space, but their own inner space becomes increasingly empty. This is like a mental failure, a soul loss, and their imagination is like the broken watermelon, destined to hit a wall.

Or, the two videos of Wong Kar-wai, Kang Wen and Kim Ki-deok have allowed those uninvited guests to obtain an imaginative counter-guest, which is a reaction force exerted by imagination on the material world. Cai Mingliang is not that romantic, at least not in his internationally famous film. He is not that romantic. What he wants to say is that once the room is empty, no matter how many people live, it is still not fulfilling. It’s nothing more than one stranger to another, from one empty to another.

Tsai Mingliang also started with his second feature film and became the director who is the most good at using space in Taiwan after Hou Hsiao-hsien and Yang Dechang. He is naturally the third most international director in Taiwan, followed by An Lee . Although Cai Mingliang himself repeatedly stated that his most highly praised director is François Truffaut , his space processing is actually closer to Antonioni. In general, movies do not talk about the environment that people have, or vice versa.

Antonioni assimilates people and the environment. Human beings themselves are an environment, a type of building, and all human emotions are a kind of self-righteous and blind determination. The leaking room in "The Hole" after Cai Mingliang and the unfinished building in "Dark Eye Circles". They are all externalizations of character forms. Cai Mingliang's spatial language system allows his films to break through regional restrictions and have an extremely rare pan-linguistic communication ability.

Cai Mingliang naturally wants to write about people. As for the relationship between characters, "Long Live Love" seems to be splicing a triangle relationship, but it does not have a structure to form a biological chain that reduces one thing. It is difficult for us to define whether Chen Zhaorong and Yang Guimei's joy is due to loneliness or physiological needs. We can only feel from the famous crying scene at the end of the film that neither food nor color can solve Yang Guimei's real dilemma. What is really related to love is Li Kangsheng's feelings for Chen Zhaorong.

In this movie with less than a hundred dialogues, only in the conversation between Li Kangsheng and Chen Zhaorong, we can capture the breath of life and the warmth brought by it. The subtle presentation of daily situations such as borrowing money, borrowing cigarettes, and carrying people at least allows Li Kangsheng to enter a living, human world from the busy and empty work and the self-resolution of occupying a room.

The handsome Chen Zhaorong was a temptation for Yang Guimei, but in Li Kangsheng's view, it was a love that he wanted to be included in the life form. We have to mention the most important bed scene in the whole film. On the bed is Chen Zhaorong and Yang Guimei having a substantial sex, and under the bed is Li Kangsheng having an imaginative "deep" or "acceptance" through masturbation.

This is accidental and imagination completing 3P, and this is even more like thinking and behavior drinking poison to quench thirst. More importantly, in the joyful sexual behavior, the camera was finally left to Li Kangsheng under the bed, a poor bystander who became a humble participant. He also said quietly: The more you want to be happy, the less you will be happy. From a cramped perspective, Cai Mingliang seemed to be sympathetic, and even spread the infinite sigh of "animal sentimentality after sex".

You can also pay attention to the season described in "Long Live Love", which should be a wet and cold winter. Taiwan’s winter rarely appears on the screen. What I remember are " Warm ", "Spring Cold", and "Starry Sky". The reason why Tsai Mingliang chose the shortest season in Taiwan is also an irony of the film title "Long Live Love". Love comes whenever you say it, leave whenever you say it, or it has never been there. If you want to rely on this to keep warm, in the end, it will only add to the coolness.

So, we saw Yang Guimei's last crying, and regarded it as the whole of Taiwan crying.

This is a bit big, but it may also be that it is small. You can think more boldly that the whole world is crying.

In this era where more and more houses are becoming more and more expensive, completely breaking the economic law that things are precious. Too many people want to be material slaves (we call house slaves here) and are sad to seek slaves. If we are afraid, we will not know whether we should be sad or why we are sad, but tears, like other body fluids, will flow all over our faces.

Not only that, Yang Guimei performed that inexplicable and huge sadness. It would be better to say that Cai Mingliang captured the desolation that life is difficult to avoid. When filming this scene, Cai Mingliang asked Yang Guimei to walk continuously and NG many times. When Yang Guimei got angry from her heart, Cai Mingliang asked her to sit down and started crying. She cried for six minutes in one breath. When Cai Mingliang called for a stop, her tears had not yet shedded. When

left the group, Yang Guimei complained that producer was not sure what the video was filming and expressed doubts about the quality of the video. Until the premiere of Venice, she finally understood what the film was talking about, and she cried on the spot until her makeup was spent.

Very few people have such two crying times, which can become a movie in itself.