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"Hello, Lee Huan Ying", "First Incense"... 2021 women's movies out of the circle, which "she" do you like the most?

2022-09-16 06:50:26


2021 is also a year of concentrated outbreak of Chinese family films, and women's theme films occupy an important part: "Hello, Li Huanying" and "Everything About My Mother" are very clever to compose the two female protagonists as mother and daughter in the story, and explore the intergenerational issues in different ways; "My Sister", "Looking for Han Ji" and "Door Lock" bring women-related social issues to the big screen


文/朱泓江

过去的一年你看了多少部电影?哭湿了几包纸巾?

据《人民日报》报道,由国家电影局、中国电影艺术研究中心提供数据显示,得益于有效的疫情防控和国家政策引导,2021年中国电影产业快速提振,继续引领全球电影业复苏步伐,年度总票房472.58亿元。

2021 is also a year of concentrated outbreak of Chinese family films, and women's theme films occupy an important part: "Hello, Li Huanying" and "Everything About My Mother" are very clever to compose the two female protagonists as mother and daughter in the story, and explore the intergenerational issues in different ways; "My Sister", "Looking for Han Ji" and "Door Lock" bring women-related social issues to the big screen, and the realistic and dramatic methods form a completely different perception; "Love Myth" and "First Incense", created away from the business model, are very personal to tell the concept of love; The atypical narrative of the author's film "Lyceum Theatre" also gives the film market in 2021 an extra artistic texture, and "Mui Yanfang" recreates the ups and downs of the life of "Hong Kong Daughter"...

The triumph of the "small pieces"

Without exception, they are not traditional commercial blockbusters, but "small films" focusing on women's themes, and most of them focus on family contradictions and social contradictions in a more unified way.The intergenerational contradiction of middle-aged women in "Everything About My Mother", the unique understanding of fertility problems in "Looking for Han", the restoration of the state of women living alone in "Door Lock"... A series of films have gone beyond using women-related stories as the essence of storytelling, but have begun to use cinema as a form to redefine some of the inherent thinking.

而去年非常出彩的《爱情神话》得到了其“垂类市场”的良好回应,这部小成本FIRST创投作品吸引到徐峥、倪虹洁、马伊琍等一众著名演员的青睐,出现了“老乌”这一被诸多文艺青年追捧的角色,更创造出豆瓣开分8.2、持续保持8.3的鲜见现象。

“小片”的成功并非偶然,疫情的冲击对中国电影市场影响巨大,后疫情时代的电影市场寻求恢复还需要一段旅程,而家庭、爱情等温暖题材作品的涌现,无疑给了在各个档期走入影院的观众一个理由,《你好,李焕英》凭借春节档豪取54亿票房收入,《我的姐姐》获取8.6亿票房,《爱情神话》取得了超过1亿票房的成绩。

但是我们还应该对电影市场出现一部真正的“大女主”大片有所期待,此类题材在当下已经成为一个热点,从《人鬼情》到《大红灯笼高高挂》《秋菊打官司》,再到千禧年后的《图雅的婚事》《观音山》,中国电影人始终在女性题材电影的领域探索,而当真正进入女性影视作品创作高潮的当代,却难见有着国际影响力的女性题材电影,我们能在“小片”中看到发展的潜力,同时也可以更期待有真正的“大片”出现。

手法的玩味

《爱情神话》从上映起就被豆瓣用户推上“神坛”,不单因为题材内容聚焦在上海这座强调文艺“腔调”、豆瓣用户聚集的城市,还有一些更深层次的原因。

本片中,从片名到影片中的“彩蛋”都在告诉观众,这是一部拍给文艺青年看的电影。除开沪语台词展现出的特殊风貌外,费里尼的作品再一次成为学院派电影导演彰显自身艺术涵养的工具,此前《野马分鬃》中反复用人物来传达导演自身电影涵养的手法饱受诟病,但《爱情神话》的观众群体却非常认可这一做法,影片营造出的“老乌”的奇妙情史在生活质感的演绎下也颇为灵动,费里尼的作品《爱情神话》不再是片中单纯的“影迷梗”,而是将中年男人的中年焦虑转移到罗马街头的幻境之中,期望向时代宣扬他们的爱情理想。

然而,它也只是描绘出了当下电影市场所缺乏的中产阶层男女困境,却并没有真的展开女性主义的叙事支撑,用沪语演绎了一段弄堂巷子里中产阶层熟人语境下一男三女彼此追求安慰的精致时光,这应该也是文艺青年、影迷们颇为玩味的地方,而《寻汉计》则是在片名中就开始借鉴威廉·莎士比亚名作《驯悍记》大龄单身、未婚先孕、未婚生子以及孩子上户口等社会问题在任素汐这一戏剧功底十分深厚的演员身上演绎探讨。

In the traditional view, the most important thing for a mother of a child without a hukou is to find a biological father for her child.The heroine Wang Zhao put aside the shackles and began to "look for a man", not "looking for a father" or "looking for a husband".In the film, a woman who longs to give birth to a child legally wants to find a father for her child, rather than the old-school practice of staging a lost mother's bitter pursuit of love.

And the old-school film method is not unable to make new ideas at the moment, Lou Ye's "Lyceum Grand Theatre", which was released after thousands of turns, has made a new exploration of the form and content of the film, focusing the camera on Yu Yan, who is circling with all parties, and she has become the link between all parties in Shanghai during the Japanese occupation period in the film, is she an actress? Or an agent? Or looking for old love? The complicated identity becomes a major doubt in the plot, and she has become the focus of the gaze of all powers as a woman, the film is superficially telling history, and the core is exploring the relationship between war and women.

而传统现实题材在今年却显得十分尴尬,不仅仅是影片质量,而是立意。

《我的姐姐》《关于我妈的一切》等影片都在描绘中国家庭的群像,而是否被认可却值得商榷。《我的姐姐》中的姐姐设定难以立稳,姐姐对教育弟弟这一行为的逃离贯穿整片,过度将女性发展的障碍归结于家庭,使得影片“亲情”“女性”两不沾。

同样的问题出现在《关于我妈的一切》里,徐帆扮演的母亲成为维系家庭正常运作的纽带,患病的岳母、叛逆的女儿等都成为其生活的负担。全片没有展现其作为女性角色的特点,而是用大量的奔波与操劳填充画面。

此外,中国香港电影《梅艳芳》则是今年影院难得一见的人物传记,在港片港味渐渐消逝的年代,《梅艳芳》的出现也获取了大量怀旧党的关注,但片子不够深入的人物叙事与梅艳芳本人所加持的魅力使得口碑形成了较大差异。影片对梅艳芳拍摄传记的诚意早已大过了影片本身,其中演绎片段与史料的交叉剪辑更是唤醒了一段回忆。

改编的困境

There are also a number of mainland film adaptation and adaptation of the original works, but it is difficult to be called a masterpiece.

“The first incense” is an adaptation of Eileen Chang's most famous work, “Agaric shavings: the first incense”. Ann Hui, who directed “Tao Jie”; Wang Anyi, who wrote “Song of eternal regret”; Christopher Doyle, who made “Chungking forest”; Kazuya Wada, who designed the costumes for “House of Flying Daggers”; and Ryuichi Sakamoto, who composed the music for “The Last Emperor”, the creative staff is sumptuous enough to describe it.

原著的精彩之处在于,张爱玲用她独特的意象氛围、精巧的叙事文本罗构了一个“机关算尽”的女性形象。然而在电影里,这个形象消失了。许鞍华的创作似乎有些文不对题,被不少观众批为“精致”的烂片。

The other two works that are localized by foreign original films are also embarrassing.

《门锁》此前版本众多,但大陆版《门锁》似乎成为了导演的失控表演,为了突出女性角色而粗暴塑造男性反派的做法本身就表明了剧本上的打磨欠佳,影片后段突如其来的动作戏与毫无铺垫的起伏,在观感上造成观众的不适。

The original Korean Sunny is reproduced almost verbatim, but the effect is far from perfect.

女性题材作品的改编困境不是在于原始框架的束缚,如果说文本影视化的改造,是将一种语言转换为另一种语言,那么移植国外原片就是精神内核的本土化,如果单纯地复刻视听,中国的电影工业水平完全可以做到,真正的困境在于电影人是否将电影理解成艺术,是否真的在创作时将具体的女性问题用画面来探讨,而不是将男性角色转化性别而以此自我标榜为“女性电影”。

Because the so-called women's film is not a film that merely represents the position of women and presents women's roles, but a film that truly presents a female individual who breaks away from the predicament of male power and maintains independence, it is no longer focused on the image of pure and beautiful women to attract the audience, nor is it dependent on men to solve the contradictions in the story.

From this point of view, there is still a long way to go for Chinese women's films.


编辑:伊人