Lin Zixuan participated in the publicity activities of Sunny Days in the capital.
Unlike low-cost comedies like Party A and Party B, the sunny days have won a lot of praise in the Beijing entertainment industry, and everyone was not optimistic about it before, but now it is unanimously praised.
Especially those art film directors, they have spoken in support, and also shouted the slogan of revitalizing domestic art films.
The repeated reports of the media, the pursuit of film critics, the echo of insiders, the enthusiasm of the audience, and the situation are very good, as if the sunny days have become the savior of domestic films.
This has a lot to do with the current situation of the domestic film industry.
Hollywood blockbusters and Hong Kong action movies have been introduced to the mainland, impacting the mainland film market, and the country urgently needs a film to compete with the imported blockbusters.
The sunny day was just in time, which gave hope to domestic film colleagues.
This is the real right time, place and people.
It is foreseeable that this film will soon be rolled out in theaters across the country, and the treatment is the same as that of Hollywood blockbusters, and even if the box office does not surpass Hollywood blockbusters, it will not be much worse.
Jiang Wen has undoubtedly become the most high-profile figure in the domestic film industry this year.
Many scholars in the film industry have begun to study Jiang Wen and his films, although Jiang Wen's films are from the 70s, but they are obviously different from the deep pain and reflection on history of the fifth generation of directors.
He focuses on reminiscing about the past and is not overly pretentious.
As much as possible, it restores the original historical appearance of those young people who lived in the military compound, and finds an outlet for the generation living in the seventies.
Because of this, he does not belong to the fifth generation of directors, but it is difficult to classify him as a sixth generation director.
He is a director who is difficult to define.
At the Beijing Film Academy, Zheng Dongtian, director of the directing department, looked at the two scripts in front of him, and was also thinking about a problem, that is, the issue of the generation of Chinese directors.
The first generation of directors, as the media or film critics call it, has no such classification in the academic field.
It can only be said that in a certain period, some directors have roughly the same creative tendencies, and have made a number of films that are similar in both theme and artistry, then these directors can be grouped together and studied together.
In the eyes of others, this is the first generation of directors.
Zheng Dongtian is considered to be the fourth generation of directors, in fact, the creative tendencies of the fourth generation of directors are not exactly the same, and it is only because of the common life experience that everyone will shoot similar themes.
As a professor in the directing department and a veteran researcher in the film industry, he is familiar with the work of each generation of directors.
The script in front of him is one of the two of us and the other is Xiaoshan going home.
Zheng Dongtian read the script, both emotional and gratified, these two books have most of the characteristics of the sixth generation of directors.
The first feature is realism, the script is closer to life, reflecting what is happening in the current society, which is something seemingly insignificant, but very real.
The two of us are the old lady and the girl constantly bickering, and Xiaoshan is a migrant worker who lives in the north when he returns home.
The fifth generation of directors always wants to educate and infect the audience through their works, so they reflect on history.
They criticized the circle of the sixth generation of directors for being too small, shallow in thinking, too petty bourgeoisie and too self-conscious.
The sixth generation of directors feels that they are recording life, facing life directly, getting closer to it, and going deep into the hearts of ordinary people.
The second characteristic is originality, the scripts of the sixth generation of directors are basically original, and the directors write the scripts themselves.
So their films often feel very rough, very poorly literary, and look incomprehensible.
The fifth-generation directors are best at adapting novels into movies, which is a typical representative of the doctrine of borrowing, and the advantage of this is that with excellent novels to lay the foundation, movies are more literary and artistic.
The third characteristic is the presentness, and the sixth generation of directors is shooting about the current life and feelings.
In addition, there are personal styles, urban themes and fragmented expressions, etc., which are all characteristics of the sixth generation of directors.
The study of the sixth generation of directors by domestic filmmakers began in the nineties, and these directors often graduated from art schools in the late eighties and were assigned to major film studios.
They have their own ideas, and if they don't adapt to the rigid system of the film studio, they want to rush out and make the movies they want to make.
This is also known as underground cinema.
They either raise their own funds or accept money from abroad, and due to lack of funds or environmental constraints, they often shoot people from the bottom of society, or taboo subjects such as homosexuality.
This kind of theme is easy to get foreign investment, there is a market in Europe, and it is easy to get awards at film festivals.
In fact, they are still following the old path of the fifth generation of directors, that is, making movies abroad to win awards, but the fifth generation of directors is the mainstream, and they are non-mainstream.
The two of us and Koyama go home, the characteristics of the sixth generation of directors in Koyama go home are more obvious in the two scripts.
Because the two of us are from a female perspective, they are more warm and easy to be accepted by the audience, although it is a niche movie, they have indescribable deep feelings.
In these two scripts, Zheng Dongtian leans towards the two of us.
The relationship between people is an eternal theme, and it is not easy to express this theme through ordinary and trivial daily life, and if it is made well, it will become a good movie.
It's just that if it is screened in theaters, it is difficult to get the desired box office results, so you can only take the road of participating in film festivals.
Zheng Dongtian decided to be the art director of this graduation work himself, he felt that this script was not enough for life, and it still needed to be revised, and it had to be truly down-to-earth.
Free novels bring you joy and joy ---> storyskyline.net
Since you want to make a good movie, you have to be strict and meticulous, anyway, there is time in school to polish it slowly.
Lin Xiaoling wrote the script during the summer vacation and handed it to Zheng Dongtian at the beginning of the school year, but Professor Zheng was very dissatisfied and asked her to continue to revise it, and put forward a lot of suggestions.
This should be a good sign, indicating that Professor Zheng values this book very much, otherwise he wouldn't have bothered so much.
Xiaoling, who was in a good mood, went to the cafeteria to eat, and was still thinking about her own movie, and met a girl who was a little thin, a little dark, and her appearance was not good.
She knew this girl, and she was in the same class as her, both of whom entered the film academy and acting department in 93.
I didn't pay attention to it before, but now it looks a bit like the stubborn girl in the two of us, I heard that this girl has learned to draw, just like the character in the script.
"Hey, Xu Jinglei, do you want to make a movie" Lin Xiaoling beckoned to the girl opposite. t1706231537: