Is the only Chinese film that was shortlisted in Berlin this year?

In February, "Hidden Dust Smoke" became the only Chinese film in the Berlin International Film Festival this year.

In July, this film finally appeared on the big screen and met us.

In fact, the story is very simple. This is a love story of rural women and a middle -aged farmer who are suffering from hidden diseases and is not seen at home.

However, this is actually what rural life looks like.

At the beginning of the story, in the snowy winter, a donkey stood in the yard.

In the contrast between light and dark and black and white, the heroine Gui Ying and the actor Ma Youtie were in the same frame in the house.

Two people of different spaces have entered the same world.

The film started for 20 minutes, so we confirmed that the actor Hai Qing was indeed actor.

Guiying has a disability, with a sorrowful body, a yellow face, a rough skin, and a poor all lines. It is difficult to make people recognize that her actor is the sharp "national daughter -in -law" Hai Qing.

In this film, Hai Qing fulfilled her appeal at the FIRST Film Festival a few years ago, and she called on the young director to find more middle -aged actresses like herself.

Now it can be regarded as the repercussions of the future.

Her performance in the play is easily reminiscent of the image of Gong Li in the "Qiuju".

Zhang Yimou once said that when she filmed "Qiu Ju's lawsuit", Gong Li was sent to the village in advance to experience life, until her conversation was comparable to the daughter -in -law in the village.

This time, Haiqing is the same, and experience life, study dialects, and try to figure out every move. With a full year of call, the corresponding experience time and shooting cycle are left in the four seasons of spring, summer, autumn and winter.

When we can't recognize Haiqing, it means that she is no longer Haiqing and is no longer a "national daughter -in -law", but really becomes Guiying in the play.

For a professional actor, letting go of his technology and concentrating that becoming a role is a pride in his performance career.

For another starring Wu Renlin in the film, he has to learn what a professional performance is.

Wu Renlin, who plays Guiying's husband in the play, is a non -professional actor who has never learned to perform. Not only that, he is also Li Ruizhen's uncle.

In Li Ruizhen's play, relatives and friends have almost become a feature.

His "Old Donkey Head" and "Tell them, I went to Baihe", "Home in the Poor Plants and Plants", etc., all the grandfather Ma Xingchun.

It is like his young uncle Chen Yongzhong in "The Picnic Best" and "The Last Night on the Earth" directed by Bi Gan.

In Li Ruizhen's play, his relatives and friends in Gaotai County, Gansu, Gansu are all the protagonists of his story. This allows the story to have a natural connection between the character's background and the country.

The country is the soul of Li Ruizhen's movie.

The only small part of his rural scenes in his previous film "Passing the Future" is obviously more smooth and natural than Shenzhen's urban part.

The native local people are easier to resonate with the land under the same frequency as the land under their feet. Li Ruiyi and his folks are the same.

Of course, relatives and friends, as non -professional actors, are not easy to control, but their familiarity with the story scene and their habits of rural life are enough to offset their restraint in front of the camera.

In the local story, they contributed the delicate and romantic of the local soil.

There are many very moving details in "Hidden Dust Smoke".

Ma Youtie used wheat with wheat to fight a pattern on the back of Guiying's hand. He pressed hard, and a flower was printed on Guiying's hand.

Wheat and flowers, bread and love.

Ma Youtie didn't say a word, but fulfilled two promises.

Without a line, the two of them and the fragrance of emotions and love in their lives made us who are accustomed to industrial sugar, and were instantly hit by this original romantic.

Seeing the love ceremony of mass production on the industrial assembly line, but I do n’t know that the romance of the agricultural era can be so subtle and wonderful.

The two collect wheat, raise chickens, build a house ...

Last time, I saw land, wheat, swallows, and houses on the screen seemed to be a matter of last century. The almost blurred agricultural lifestyle in memory has recovered in these details and has been given poetic poetry of farming.

In the autumn harvest season, Ma Youtie was busy cutting wheat, Guiying took dry food, and the two ate together on the ground against wheat straw stacks.

When the two went out, the way Ma Youtie cared about his wife was that Guiying had to eat a apple when resting.

This is the most primitive form of husband and wife. Under the form of male and female -wealed agricultural families, the daily life of ordinary couples is unintentionally rendered, but it overflows simple emotions under the near -white camera.

Guiying wants to incubate a few chicken with eggs, and use a light bulb in a light -transmitted carton to heat up.

The lights scattered from the hole of the carton, and the entire room was shrouded in a bit of soft light, swaying warmth and love.

Emotion, in these calm pictures, and flowing, two "abandoned people" include two "abandoned people" into a place of happiness.

They rolled around in the village and finally decided to build their own house by themselves.

This is a very moving and very metaphorical paragraph.

Pulling bricks, building walls, and top, each step was done by Ma Youki and Guiying.

Their only wealth was the black donkey. The two did not hesitate, but they were reluctant to exhaust their livestock. Only when they couldn't reach the time, did the black donkey play its role.

In fact, Guiying, who is disabled, and Ma Youkudi, who have no longer things, belong to a very marginal individual in the countryside. No one will realize their lives, and even their existence itself is more about the talks after the village. But it is precisely the weak in these two rural life, but they have an unusual understanding and consent of land, livestock, and crops.

They are fragile but tough, like the land that bred grain, even if they are trampled, they never have the same as one, and they grow up wheat ears and hope again and again.

On the night of the wind and rain, they ran out to put plastic cloth waterproof for the unable to build a house.

Put on it again and again, scattered by the storm again and again, and then re -paved again.

Like Sisyphus, which pushed the boulder up the mountain in the wind and rain.

Stubborn and unwilling and huge hope.

In selfishness, I think this is the best movie of Li Ruizhen.

It has Li Ruizhen's consistent native complex, retaining the poetic and romance in rural life. At the same time, it also faces and accepted the cruelty of farming with an extremely restrained attitude.

In the film, the only time Ma Youteng argued with Guiying. He complained about how Guiying could not even send a bundle of wheat ears.

The disability of Guiying's body made her labor level far lower than the average value, and in the face of the farmer who spoke with physical strength, Guiying was of course the disadvantaged side. This is also an important reason why she does not like to speak and timid.

During the peasant leisure, Ma Youtie had time to give Guiying more concern or even romance, but the contradiction between physical and productive forces was enlarged.

Angry is not because he has changed his temperament, but at a specific time and resources, the farming civilization exposes its brutal side -a high demand for human physical strength.

In a rural family, the amount of labor basis basically determines the living standard of this family. In this sense, Guiying does aggravate the burden of iron with iron, which is a very realistic contradiction.

Regarding this contradiction that could not be ignored, the director pointed out that he did not pay attention to the structural problem that could not be resolved, but how two live people lived in such an environment.

In the current context, the countryside is the edge on the screen, and the pair of male and female protagonists in the film can be regarded as the edge of rural areas.

However, in the image of director Li Ruiyi, he weakened the social attributes of the edge of the character, and focused on the lives of the two most primitive and simple life individuals.

He stroked them with a delicate and gentle lens, and used them as the center of the story, showing the growth of emotions between people.

Solid, simple, full of love for the land, in Gansu land that Li Ruiyi is familiar with, his images are full of life of life, and there is rich and ethical feelings flowing everywhere.

This "Hidden Dust Smoke" has passed for five years since the director Li Ruizheng's last movie "Passing the Future".

Along the way, Li Ruizhen's story always surrounds Gansu's land. Even in the middle, there are films such as "Passing the Future" in urban life, it still has inextricable relationships with rural Gansu.

Someone asked Li Ruizheng the story of filming rural areas in Gansu. He said:

"Sometimes the movie is like a window. It helps you push another window for you to understand the lives of people at the same time of the world or different latitudes at different times. I have the opportunity to engage in a video work. I do n’t take a picture, I may take another one to shoot, so I will do the recorder of that land. "

When he showed the four seasons of rural Gansu in "Hidden Dust Smoke" in "Hidden Dust and Smoke", he had become the recorder of that land.

On the land he is familiar with, I would like to say that "Hidden Dust Smoke" released today is his most meaningful expression.

After it, we can really believe that he has the ability to surprise.

Even if it takes five years next time, it must be worth waiting.

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