The cooperation with Xu Anhua was wonderful. It was an experience that Su Ze had never had since his debut. Sister Tao is not like a movie, but more like a life documentary.
The relationship between Roger and Sister Tao that he created may have changed step by step. When he came to visit Sister Tao in the nursing home, many other elderly people were looking outside curiously. When asked about their relationship, Jin who was nearby
The aunt said casually: Godson?
Su Ze was stunned for a moment, hesitation flashed in his eyes, but finally admitted.
The camera immediately turned to Sister Tao next to her. Although her face covered with age spots was a little tired at this moment, she always looked happy when she heard these words.
Every time I take Sister Tao to the park where I often go, Xu Anhua designs a distance change here. In the past, the young master walked alone in front, while Sister Tao followed behind, and even kept talking on the phone to discuss business. It was more like Roger's pair.
It is a kind of implementation of Sister Tao's obligation, but Sister Tao is also very satisfied.
But when he took Sister Tao to the park for the second and third time, he dragged Sister Tao's hand and even let Sister Tao hold his arm. This obvious change in distance also proved the change between the young master and the servant.
When gathering with three friends at home, someone discovered the beef gizzards made by Sister Tao. After several people finished eating, they recalled how good Sister Tao was, and the camera unconsciously gave a close-up of Su Ze's face.
Mixed flavors and indescribably complex!
Roger's job is as a movie producer, and when the movie premiered, he didn't bring his real family, but his godmother, Sister Tao.
After the movie ended, the two of them walked out of the cinema and met the famous actress Luo Lan. It was a very dramatic scene. Two people of almost the same age lived two completely different lives.
Sister Luo Lan wears famous brands, is respected by everyone, and has a driver to pick her up. Sister Tao on the right is only Roger.
The stronger this contrast is, the more it reflects the cruelty of this society. Cruelty is cruelty, but it is very realistic.
Then Roger held Sister Tao's hand as always, with their backs still facing each other, and slowly walked away from the camera.
A long shot with the same angle expresses completely different things. At that time, Sister Tao was sick, helpless, lonely, and helpless. But at this time, although Sister Tao is still stooped, the people around her are not doctors.
It's Roger.
An old man and a young man walked forward talking and laughing, and even Sister Tao's steps became much more brisk.
After Sister Tao passed away, Roger was downstairs at home, looking up as if he was still upstairs with the lights on, waiting for him to come back. He cooked a table full of delicious dishes, washed every piece of clothing, and looked kind.
But in the blink of an eye, he died like this.
The shooting rhythm was just twenty days, and it was as efficient as ever. After all, there were no big scenes or special effects, and even the scenes were very simple.
"Godmother, am I right?" King Liu Tianwang specially attended the wedding banquet. He looked at Su Ze and teased Ye Dexian: "Is it okay for the younger generation?"
"Yes!" Ye Dexian took Su Ze's hand and said proudly: "Of course my second godson will win!"
Liu Tianwang was stunned for a moment, then laughed, and Su Ze also laughed.
I have to say that there are many good actors in Hong Kong Island, and Yip De-hsien is one of them. He is not showy and unrevealing, and his acting skills have returned to his original nature.
"How is it?" Xu Anhua asked Su Ze, "Are you not comfortable working with me?"
"Other people's works have all kinds of dramatic conflicts, but mine are too bland."
Su Ze nodded first, then shook his head. The female director's narrative was unique and abandoned most of the dramatic conflicts. For example, when Sister Tao finished wrapping up the red envelope, the audience thought her money would be stolen.
When the host mentions her family, she will think that she needs to start talking about it; when Sister Tao goes to the toilet, she will think that she will be the one who falls...
But neither.
The director did not create drama for the sake of drama, but simply showed the most real side of life. He abandoned the film techniques to guide the audience, so warm and life-like, plain, decent and serious.
But Xu Anhua's details are the most natural and smooth since her debut, bar none!
"I prefer our English name." Su Ze said seriously: "A Smple Lfe"
Looking at Xu Anhua in front of him, Su Ze lamented that people cannot be judged by their appearance. A female director who seems to be calm and indifferent has sharper and sharper works than Xin Yukun.
"Woman, Forty" tells the story of a middle-class family caring for an elderly relative suffering from Alzheimer's disease.
"Auntie's Postmodern Life" centers on a lower-middle-class single woman in her sixties who engages in menial jobs to escape poverty. The individualism of capitalist culture has gradually alienated people from social traditions and each other.
Not to mention Sister Tao, the target is directly on the issue of elderly care, a big problem that the whole world has no choice but to deal with.
But the characters in Xu Anhua's shots never express their emotions clearly. They are too calm and quiet. The director hopes that the audience can guess the complex emotional state of the characters from indirect behavioral clues.
What touched Su Ze the most was the scene: the singer from the TV station who visited the nursing home during the Mid-Autumn Festival was very disdainful when no one was watching. After the photo was taken, the mooncakes had to be taken back for use in the next nursing home.
It shows the hypocrisy of social care and indifference to the elderly. There is also the scene of searching for a nursing home for Sister Tao: all services in the nursing home are listed and clearly priced, as if they are just dishes on the menu, without really understanding it.
What the old man really thinks and wants.
If it were another director, he would definitely design various dramatic conflicts to express these, and he would even want to stand on the table and shout: Hey, hey, hey, did everyone see it?
But Xu Anhua did not, just show how ordinary people adapt to modern life while still maintaining the trajectory of daily life.
Her narrative style is so unpretentious that it may be overlooked, but through a series of details, she successfully creates a touching work.
What a coincidence!
The completion of Sister Peach leaves Su Ze still unsatisfied. This is the second Hong Kong film in a pure sense, the first one is Blood and Plum Blossoms.
It has to be said that local Hong Kong films have a unique charm. No matter what the subject matter, they can analyze a pain point in society as sharply as a scalpel and target the most sensitive nerves of Hong Kong Island.
No matter whether it is Weng Ziguang or Xu Anhua, they are not very utilitarian. All shots and plots only serve the work, not the box office or even the audience.
Su Ze admires this very much!
This is also a quality that is very lacking in the environment where the mainland box office is king. After all, movies are works of art and can carry emotions. If you blindly cater to the audience, you will inevitably lose your own personality. How can you find your own way by always trying to please others?
A difficult multiple-choice question, box office or self-expression?
Is it better for the audience or for you?
Su Ze is very happy that he is now qualified to make choices and bear the consequences. Even if "Blood Seeking Plum Blossoms" fails to pass the review and is released in the mainland, even if Sister Tao is ignored and fails miserably at the box office...
so what?
As long as you feel comfortable acting, that's it!