Film and Drama Book｜If you drag on, you will give up

📖 book

Big fish eat small fish, and small fish eat dried shrimps.

Joking with my colleagues in the new company, I have been working for several months, and I feel like I have been working for several years. When you see some "doing things for people" in the workplace, this sentence will always pop up in a timely manner to stab you.

I used to proudly have the idea of ​​"I really hope to be eliminated by this world faster", but now I am pushed forward by the endless work. Race against time, and just want to keep my own private space as much as possible.

Back to this book, the name "Live Food" is really fierce. The stimulation of vision and taste repeatedly involves the "interpersonal concern" in modern society. Those bloody and spicy top notes can scare people so much that they can't help but swallow their saliva. But then the soft aroma of the cream came out again, freeing you from the beastly nature of the animal, and it penetrated your bones. In this way, the appetizer is ready. Let the tricks change later, and tell the funny, tragic, secret, and fantasy main dishes of the city.

Reading "World Literature" has become a habit. This issue of the album shifts the focus to Anne Ernor, who was very popular not long ago. After sweeping the best-selling areas of major bookstores, I finally got to know her works through such an opportunity.

The tone of this issue is always shrouded in a touch of sadness. "I Can't Get Out of My Dark Night" intuitively and succinctly records the process of the gradual death of my mother's life in the form of a diary. There is not much literary embellishment, but the emotions are more explicit. show up.

In connection with the last issue of the old literature series, I began to realize why I didn't like the "Autumn Garden" trilogy. It bothers me to keep dwelling on a painful past, even though I understand how devastated that era was for individuals and families. The literary works of the elderly should not only be memoirs. At this stage, writers feel about aging, whether they resist, reconcile, or endure. These characteristics expressed in the characters are what I am really interested in.

📺 Drama

Road rage, a situation that urban people are most likely to lose control, is cut into as an emotional node. As the gap gets further and further away, bad decisions are inevitable, and the underlying consciousness that has always been painful and hidden gradually emerges. The stagnation has also been stretched

Western therapy doesn't work on Eastern minds.

Just like a piece of wet clothes in a drum washing machine, after being intimate with each other, they are thrown up and down at a gradually accelerated rate. The complex emotions between family members are wrapped in power relations, and the anxiety and heavy tumbling continues. "Unconditional" love is an eternal topic to be discussed by people in East Asia. The descendants of new Asian immigrants need to overcome and adapt to the shocks from regions to cultural values. How easy is it to find their own piece of land? Under the yellow face that is not good at expressing love and is brave, there is nowhere to release and fill the inner depression and emptiness.

At the end of the play, I looked at two Asian men and women who were covered in bruises. I was even a little moved, wondering if I could gain such a once-in-a-lifetime opportunity to reveal my unconsciously shriveled self as long as I went through such Robinson Crusoe-like asceticism.

The feasibility of dismembering female college students independently, the authenticity of violent fighting scenes, and the habitual accent of Zhanjiang, Guangdong, all make me feel that it is still a little bit short. This is very similar to the feeling I had watching "The Hidden Corner" before.

The interludes of poetry push the things that stay in the visual to the inside. Old people, middle-aged people, young people, Northeasterners, Southerners, everyone will have different feelings about this drama, but the confinement and oppression of individuals by the collective is an epochal and dangerous theme.

Needless to say, the men in the play are ridiculous. I am most concerned about the role of Yin Hong, "As long as female college students are deprived of their virginity, they will lose their value like a hostess." She is both a victim and a defender who rushes to the forefront in a patriarchal society. Many of the characters in the play are tragic characters, and the truth does not give people a sense of comfort. Life is going to end, it is the most understatement of despair, and it is also the truest description.

I thought it was a political drama, but it turned out to cover a lot of elements, but it didn't feel messy.

Political campaigns are overwhelming, from peripherals, the Internet to political activities, almost occupying all daily life. The often criticized "entertainment of Taiwan's politics" and the necessary provocative emotions are understood in the play. While shouting the slogan "Frozen Garlic", Taiwanese are still exercising civil rights that are unfamiliar to us. In fighting for equal rights, Taiwan has obviously taken a big step forward. It reminds me of the Umbrella Movement in Hong Kong, and those citizens who walked silently but firmly, and I feel sour.

In fact, the party is no different from a large enterprise, and issues such as sexual harassment in the workplace and manipulation of power are also prominent. Women's emotions are analyzed emphatically. When Yajing, who was held hostage by nude photos, repeatedly fought for them, and even used a very roundabout way to get back the photos. To eliminate fear, telling the truth is the best solution, but the process is still visible Taiwan's naivete downplays the consequences for the victims.

It is a time-sensitive TV series. After the epidemic, there will be nothing to watch, only some vulgar heroism left.

🍿️ Shadow

The epidemic provides a background framework, cleverly presenting two different life dilemmas through the conflicting but non-contradictory perspectives of critics and critics. The softening process of the two parties is delicate, and at the same time, it hurts everyone who lived a difficult life during the epidemic. We all know what the right thing should be, but discussing right and wrong is the most boring thing here.

Finding food is difficult, and life and death are the norm of the new crown. The role of the ghostly little girl makes the movie a little more energetic and a little heavier. Jumping out of the predicament of the new crown, Hong Kong is a narrower and narrower road for many people. Children from rich families look at the endless sea view at any time, while the little girl can only stare at the "12 windows" pasted on the wall. She leaned against the narrow "window" of the hotel and looked into the distance, saw the plants on the opposite side, saw the sun, and saw friends walking out. "Why can't we go?" The child's words were ruthless, but the adults felt endlessly sad when they heard them.

No matter where you go, you can't let go of the loneliness in your heart.

Chihiro is like water, bright, sexy and mysterious. "Can you stop?" When she became the center surrounded by love, she quietly withdrew. Suddenly remembered Eason Chan's "Falling Flowers and Flowing Water",

/water is clear
/ cherish this responsibility
/true identity is nothing but delivery

The profession of sex workers has not been magnified, or even dealt with in a very flat and natural way. The plot is also consistent with people, loose, relieving, and healing. After watching it, I occasionally think of the scene where Chihiro is leaning on the roof and the kitten is sleeping in front.

The English translation is straightforward, and it is indeed a very novel "old" play. The rather rhyming text on the black curtain divides the story into several paragraphs. It seems that Qiu Fu's life is spread out in flashbacks, but in fact, it is guided by the Sichuan Opera Troupe, bringing us to review the history that is neither familiar nor unfamiliar.

The Sichuan dialect is very playful, and the background setting of the drawing board is very absurd and psychedelic. Very rigorously, Qiu Fu's life also includes the period before he really stepped into the underworld. The bull's head and horse noodles are about to appear, Mengpo soup, Fengducheng, and this is the end of a turbulent life. And the funniest thing is that the systems of Yin and Yang are consistent. What impresses me the most is that Niu Tau and Ma Nian dare not pull a tricycle for fear of being melted to make steel.

The fate of the individual is drifting in the great changes of the times. The two scenes of medical alcohol as wine and maggots as nutrition shocked me greatly. In addition to the ups and downs in the lives of Sichuan opera actors, the changes in Sichuan opera troupes are even more embarrassing. Culture and art were destroyed in a mess during this period, which is a pity and hateful.

Hong Kong movies about fighting and killing have similar routines, but this time it is really bad.

And it obviously feels closer to China this time. Two Hong Kong people were assigned to speak Mandarin, but they really didn't understand it. Whose ears were they trying to challenge? Secondly, as always, the identity of the police is overemphasized, and the positions of the poor and the thieves are clarified. But how come all the police are superior? Can professional status determine a person's moral standards? The handling of the Thai government is chilling. This brutal way is naturally the most labor-saving and the most incompetent.