This film should be seen by more people

Nikolai Chernyshevsky, a famous Russian philosopher, once said in his classic work The Aesthetic Relationship between Art and Reality that "beauty is life" and that the relationship between art and reality is unbreakable. As an art, film reflects different realities in different periods and records the shadows of different times.

In China, there is such a kind of film, they are dedicated to show China's past and present. The fourth generation, the fifth generation, the sixth generation to today's new generation, different times in the film leaves colorful marks.

However, criticism of such films has not stopped since Zhang Yimou's red Sorghum. Even today, some people still call it "primitive sentiment" and interpret it as a tool for the film author to make use of China's regional characteristics to flatter the West.

Although we cannot avoid the relationship between film and reality, it is still a part of free expression, and what it conveys is the world in the eyes of creators. The real question, then, is what is the film's relationship to its creator? What is the relationship between film and the world?

Every generation of filmmakers experience the world in a different way, which leads to different forms of expression. The fifth generation of directors experienced unforgettable memories in their youth, so their works tend to open up and have a strong sense of The Times. By the sixth generation, directors have changed. They have become more individual, and history has been dissolved in their eyes.

In the 21st century, people's observation of The Times is no longer limited to the grand events, but to find the details of The Times in the little people. Oral history images took root in China, and the literature, once popular in the 1980s, gradually became films projected on the big screen. Their appearance dispelled the seriousness of this kind of subject matter and made it enter the audience's vision with a friendly attitude.

From qiu Jiongjiong's previous films, we can probably see the experiences of characters in different historical states, and thus extract a kind of social characteristics. But at the end of the day, it's all about the individual.

"Jiao Ma Tang Hui", which won the Special Jury Prize at the 74th Locarno International Film Festival, is director Qiu Jiongjiong's latest work in recent years and his first feature film. The relationship between The Times and individuals is more prominent in this film.

Real history, a life of nothingness

Film scholar Zhang Xianmin once interpreted Qiu Jiongjiong's works as follows: "Qiu Jiongjiong generally thinks that the characters in his images are bigger than himself, which is not only like the ancient Greeks tracing the heroic age in their dramas, but also the traditional Chinese issue of generation."

It is not difficult to see that Qiu Jiongjiong is a nostalgic person. In his films, those who belong to the old times or maintain the style of the old times often present a very vivid image, which is reflected in the text of all his works.

Filmmakers often wonder, what is the best form? The answer is already self-evident, and the closest way to express the content is the best form. The form and expression of "Jiao Ma Tang Hui" inspire a spark of tacit understanding, but overall the form serves to express, not just tell a good story.

The film Jiao Ma Tang Hui is worth remembering. Because true nothingness is worth cherishing more than false realism. Because realism rooted in extreme soil often has a certain degree of hypocrisy, it takes people's will as the transfer, presenting the result is often selective truth.

But the real nothingness is closer to reality. Instead of ignoring the facts of the ages, they allowed themselves to be remembered in other forms. The use of virtual state of artistic expression is exactly the right of artists to express themselves. Art should be freer.