Being can be seen on the big screen again, the meaning is more greater than everything

Looking forward to the "Seven Bands", there can be many reasons.

The most important reason is that this film gathers seven Hong Kong heavyweight directors: Hong Jinbao, Xu Anhua, Tan Jiaming, Yuan Heping, Du Qifeng, Lin Lingdong, Xu Ke.

Each director is the existence of several fans like a few treasures, and they all carry a unique Hong Kong memory. In the film, they happen to tell the story of an era alone, which also means that there are seven unique creators, like seven The outstanding musicians have a wonderful movement together.

But this movie is the first performance of the seven -person band, which is destined to be the last time.

Because Director Lin Lingdong died in 2018, the chapter of "Lost" in the film is the legacy of Lin.

Director Lin Lingdong

Another director Tan Jiaming, the last work was sixteen years old.

As the leading figure of the Hong Kong movie Sina, Tan Dao has been concentrating on coaching since the 1990s, and few works have come out. After the millennium, his only movie was "Father and Son" in 2006.

You can see these people on the big screen again, and its significance is greater than everything.

Director Tan Jiaming

Also for Hong Kong film fans, another amazing experience in the process of watching the movie is that most stories are ended at the end of the film, but you do n’t have to see personal signature at all. You can clearly know the author of each story. who is it.

Because each director has a very distinctive personal style.

For example, the title of "Practice", as soon as "Seven Little Blessings" appear, you will understand that this must be a childhood memory that belongs to the director of Hong Jinbao.

Telling the "Better Night" in the 1980s, several close -up shots with a sense of new wave pioneer in the opening scene, it was marked on Tan Jiaming.

Director Xu Anhua's "President" will remind people of her early semi -autobiographical film "Guest Qiu Hate". Under the seemingly delicate and tender lens, there is always a faint nostalgia.

In "Golden Gold", three small citizens sit in a tea restaurant to talk about investing in a fortune and daydream, as if Du Qifeng's "Deadly Gold" is outside the chapter.

The final shot of the iron triangle standing is a classic galaxy image egg, which makes people just want to shout "Du Sir is back."

It seems to be a proposition composition, but in fact, each director has not changed, and still retains his most true charm.

These distinctive personal labels are the reasons that we will fall in love with them in the past, and now we will fall in love with the "Seven Bands".

The first story of "Seven Bands" was opened by Hong Jinbao.

Maybe in the eyes of most people, the director of Hong Jinbao is an action superstar and the big brother of the Hong Kong film industry.

But in fact, he is a successful action comedy director. His early "Prosperous" and "Ghosts" and other works were all works that were well -known and even opened a generation of action movies.

"Proters"

At the same time, he is also one of the most martial arts stars, the most active actors who have the largest span and the most controlled drama. In Luo Qirui's "Seven Little Blessings", he played his own teacher Yu Zhanyuan, and contributed a very delicate and moving performance.

"Seven Little Fu"

And this time in "Practicing", the role of Master became his son Hong Tianming.

"Practice" will give people a sense of returning to truth.

It seems that the story is from the perspective of children to tell the experience of practicing, laziness, and punishment in childhood, but I did not deliberately exaggerate the hardships and sweats. Essence

The field of view of the rooftop is excellent. The teenagers stood under the blue sky, and even if they were sweating, they were still full of vitality. Because they are still young, there are light, infinite possible future.

Hong Jinbao tells the simplest story, and what he tried to remember is the time that is the most heart -minded, with the brothers with the brothers.

Another martial art giant, "Return" directed by Yuan Heping, is just the opposite of it. The protagonist is an old Hong Kong old man.

Yuanhua played a grandfather who was obsessed with Huang Feihong. His wife died, and his son immigrated to his family. Only he was alone in Hong Kong.

At first glance, the overall tone should be more realistic and depressed: it reminds us of the heroes of the heroes, the era falls into the sunset, and Hong Kong films are also brilliant and lonely.

Fortunately, Director Yuan still tells us a tender story: the granddaughter lives in the grandfather's house because of her academic academics. Although there are no lack of cultural differences in the process of getting along, they are more communication and understanding between culture and intergeneration. Learn kung fu, and granddaughter taught grandpa to learn English.

The two kung fu directors, one shooting childhood and one, the other is the word "love" — the teacher and apprenticeship, the grandchildren love, in the final analysis, they are inherited.

There are hope, maybe this is also their message to Hong Kong.

Director Xu Anhua's "President", began with real and natural details, and talked about a simple and plain teacher -student feelings.

The teacher's silent care for the students was to deliberately spill the water in the vase when the child's urine pants were dedicated, leaving him for a decentness.

The students' respect for the teacher's rusticness is that when the teacher was sitting on the street and drinking sugar water, he moved a piece of wooden board to block the eyes of passers -by for her.

Life is life, and living in the camera flowingly flows, like the light in the afternoon, shining on the side face of the female teacher in the memories.

Until the end of the story, at a cheerful Xie Shi banquet, a group of middle -aged people told the miserable evening scene of the female teacher. The director deliberately avoided the drama conflict that he should have, and exposed the real climax of the story in the most bland way.

This is the most familiar Xu Anhua: she uses the most trivial and worldly details to shape the sadness and life and death in life. Tell the heaviest life with the lightest tone.

Of course, for me personally, the real memories of killing still appear in the paragraphs of Tan Jiaming.

Director Tan Jiaming, as the main force of the former Hong Kong new wave, was active in the 1980s. Coincidentally, the "Better Night" he shot was also a story that happened in the 1980s.

It seems that "Don't Love" tells the love story of a pair of idiots, but everyone who is familiar with Tan Jiaming understands that his stories are never the script.

The bright contrast, the jealousy, the jumping editing, the obscure and philosophical lines, the performance full of the stage of the stage ...

Maybe you will forget the plot, but you will never forget this strong image style.

Tan Jiaming's masterpiece "Famous Sword"

Very magical, after watching Tan Jiaming after many years, he is still him. He has played a very important cultural symbol in the 1980s and is still exploring the road of the same author movie.

This kind of experimental, this persistence is the most unique place in Tan Jiaming. It is also today. We still have the reasons for the directors who have been in the industry for more than 50 years, but have only made eight films.

"Lost" directed by Lin Lingdong may be the most treated work for many people.

Representative works such as "Prison Storm" and "School Storm" still shocked us. Unexpectedly, Lin Dao's style appeared on the big screen this time, jumping out of his consistent violence aesthetics, but using a very gentle pen to express his love for the city of Hong Kong.

In this story, her husband who has never returned to Hong Kong for many years walks on the streets of Hong Kong with old photos. He wants to reunite with his wife and children, but he completely lost his direction.

The first half of the film, in a near -documentary way, most intuitively presents the old and new changes in Hong Kong for many years.

The husband played by Ren Dahua turned his eyes into a camera. His identity seems to be a tourist, but he is actually a strange home. Facing the rapid development of the city, he can only feel the gap and sorrow of things and wrong.

The story seems to be suddenly, but with a faint sorrow, it seems that it also echoes the sudden death of the director of the film.

In the setting on the set, several actors mentioned Lin Dao, saying that his whole person was very energetic and energetic. This is also the first time he has cooperated with his son Lin Yuxuan to make a film.

Maybe no one thought at that time, Lin Dao would suddenly leave us so suddenly.

Fortunately, the movie still left his most gentle side.

I feel the most surprising personally, which is the story brought by Du Qifeng and Xu Ke.

The two chose the structure of the stage drama in the same way. Through the closed space, the exquisite dialogue and the continuous progress of the character relationship, they created the spark of the plot.

Du Qifeng's "Gold everywhere" is a financial dream of a small citizen.

Three young people, three dialogues, each scene occurs in the same tea restaurant.

It seems that the subject matter is very realistic. It is a big drama of contemporary young people's stocks. In fact, it is a metaphorical change in the era of the millennium in the change of the stock market in Hong Kong.

Although the scene of the story is very limited, the level of Du Qifeng in terms of scene scheduling, master level:

The decoration of the tea restaurant, the news in the TV, the owner of the cashier inadvertently inserted the dialogue, and even the attitude of the waiter ... All seemingly small environmental changes have caused squeeze and influence on the characters, and also metaphorically the times have the times. The twisted humanity.

At the same time, the rise and fall of the stock market itself is an unpredictable gambling.

This story does not require any gun war, hatred, and criminal investigation elements. Several people just sit in tea restaurants and stare at their mobile phones. Fate has reversed several times with the numbers on the screen, turning between heaven and hell.

Small card seats, between square inches, calmly hit the pain points of today's era: finance, epidemic, and crushed humanity.

"Gold everywhere" is in line with our imagination of a good short story: its structure is neat, technical, small, large, large, and full of whiteness in details.

The "Deep Dialogue" directed by Xu Ke was completely unexpected, but Xu Ke was very.

It is worth noting that this time he not only returned to the country, but also joined hands with his old partner again.

Earlier, the two people's collaboration "Hell has no door", "Flower Moon" and "Shanghai Night" and other films, both are known for their absurd forms and the imagination of Tianma.

"Flower Moon"

The "Deep Dialogue" seems to be settled in the same setting, there is no room to play, but it looks more subtle in the text. It is completely through lines and performances to create a few reversal of the relationship between the plot and the character.

On the surface, this is just a dialogue between doctors and patients in a psychiatric hospital. Behind the open text, there are metaphors everywhere.

This may be a absurd comedy that focuses on the future, it may be a predicament for contemporary, seeking identity, or an attempt to return to the film ontology.

It made a self -deprecating interpretation of gaze and staring at it, and made a deep metaphor for the relationship between actors, directors and audiences.In any case, in various dimensions, "Deep Dialogue" is the most appropriate ending of "Seven Bands".

It is a "deep dialogue" between the present and the future.It summarizes some of the previous six stories.The works of the predecessors reviewed the past and present of Hong Kong, and the future represented by "Deep Dialogue" is still full of openness.

Of course, the above is just our view of this movie.

If you like Hong Kong movies, or in your heart, there is a Hong Kong film, and "Seven Bands" should never be missed.

I was also curious here. Among the seven stories, which one is your personal heart?Among the seven directors, who is your most cherished Hong Kong film memory?

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