The movie "Sunshine Robber" directed by Li Yu and produced by Fang Li, starring Ma Li and Song Jia will be released in the 51st file.
The film is adapted from the Japanese writer Isaka Kotaro's novel "Sunshine Robbers" of the same name. It tells the legendary adventure of four strange youths forming a group of "robbers" and bravely rushing to the gang to take the tiger.
Their encounters, personalities, small emotions, and major changes are all paved with enough details. The direction of their lives and the sighs of their fate have a detailed evolutionary context. The individual endowment, the pulse of the society, and the vision of the times are closely linked. Tell the audience a city story of love and healing.
Innovative imagination is the most prominent feature of film art.
As director Li Yu said, “Fun and imagination are very important to the film, so I also want to make a different kind of "fairy tale realism"." The film should explore new themes, narrative structure, language, Style, technique, and technology to break the rigidity of commercial film types and models.
Among them, content innovation is the most fundamental innovation.
An excellent film must first have substantial content and rich connotations, that is, a deep literary and humanistic nature.
For the golden partners of Li Yu and Fang Li, "Sunshine Robber" is a bold breakthrough for the two on a new theme, and this breakthrough is more reflected in the projection and focus of the current society.
In the film, Ma Li plays Sunshine, a person who is unruly and unscrupulous on the surface, not surprised, but with deep shadows and insecure in his heart.
Ma Li said in an interview that she had a lot of resonance when she played the role of Sunshine. In the film, Sunshine used a so-called strong appearance to cover up her inner fears, and her work brought happiness to others and her own pain sometimes failed. The resolving experience is very similar.
And so many of us are not another "Ma Li"?
We can bear all the wind and rain before the people, and the queens may collapse instantly because of a slight touch. There is no time for peace, but everyone is sticking to it all the way, for the ideal, the family, the love, and the existence of everything that is worthwhile.
This is the ukiyoe-e of the life of contemporary people. No matter what we will face, the eternal thing is to believe in truth, goodness and beauty and love.
Not every innovation will work. Some film innovations are difficult to be accepted by the audience because of the lack of distinctive and profound character images, or the low-level emotional consumption of character creation, and the lack of presentation of their spiritual realm.
Fang Li's earlier film "Hundred Birds and the Phoenix" jumped out of this creative pattern and successfully portrayed the full and lively characters such as Jiao Sanye and Xiao Tianming.
Especially in Jiao Sanye, he concentratedly reflected the persistence, the peasant's kindness, simplicity, shrewdness and limitation, and the dignity of the teacher tainted by Confucian culture. Various expressions constitute a dominant, distinct, complex and diverse character.
The most valuable thing about Fang Li's latest production of "Sunshine Robbers" is that through fairy-tale expressions, the process of human love and healing has been put on the screen.
In the movie, whether it is Song Jia, who lost his "daughter", or Ma Li, who loves heroism and justice, including villains, they are all people who need to be cured.
Ma Li helped Song Jia find her "daughter", Song Jia also healed Ma Li's inner pain, whether it was the "mother-daughter relationship" between Song Jia and the tiger "Nana", or the sister relationship between Ma Li and Song Jia , The real cure is the sincerity between each other.
"I want to hold you so that you won't hurt you. I want to see how you grow up. I want to love you until I love you and never leave you."
This is the core of the film throughout. When the little Nana touches Xiaoxue's hand gently, the warm and harmonious scene of humans and animals, we can hear each other's heartbeats across the screen.
And the deep exhortation left by the tiger mother Cici’s last glance is the reluctance to give up to her daughter Nana, and it is a sustenance of love. Little Nana has never lost her mother. Cici’s love is perfect in Xiaoxue. Continued on the body.
"Sunshine Robbers" is to heal every audience in this way.
At the end of the film, Sunshine bids farewell to Xiaoxue and Nana.
The sun sent their "mother and daughter" into a sun-shaped hot air balloon, and this short escape was about to come to an end. The sun could not continue their fairy tale life with them, but the sun, which symbolized the sun, would carry them to the distance.
The companionship, care, and preference in the whole movie are never like what Sunshine says when he is hard-headed: promises are like debts, but they are all because of love.
Freedom is the sun's deepest yearning, and loss will become her eternal gain.
Friends, Xiaoxue, the sunshine is farewell, let us embark on a romantic, warm, fantasy and humorous journey of healing!
Formal innovation is usually a hallmark feature of movies.
The core significance of form to a work lies in conveying content and spirit through various aesthetic carriers. Therefore, the pursuit of form should be meaningful and consistent with content and spiritual connotation.
"Sunshine Robbers" is by no means a typified story. In the process of screenwriters and directors, the pattern is bigger and the social empathy is bigger.
The monologue in the film states that "strange animals will be protected, but strange people will be excluded, but you have to keep your strangeness, because strange people will always meet".
In the film, Xiaoxue and Sunshine, Xiaoxue and Tiger Nana are different from each other. The lies carried by the sun, Nana's innocence, Xiaoxue's dreams, Liu's magical obsession, and the reality of Lin Didao... the screenwriter is in the process of creating. At the moment, candle light boldly uses color narrative to describe the relationship between love and healing.
The three tones of warm, cold and gray express three unique aesthetic and value appeals.
Most of the “villains” represented by Liu Qiqi (Zeng Zhiwei) appeared in the cool colors of purple and dark red, which contrasted sharply with the warm yellow and pink colors presented by Sunshine and Xiaoxue, and involved everyone’s painful past. At the time, most of the colors are very low saturation, such as gray and white. The light and shade are prominent in the color distribution of the picture, and the intention is clear, making the whole story line more vivid and vivid, and it is intended to tell the audience that there is no permanent gray and no permanent. Brilliant, there is only the unique love in everyone's heart.
The movie "Sunshine Robber" has a unique artistic aesthetic, which makes film and television works very vital and has a more touching aesthetic charm.
The narrative techniques and creative style adopted in the work are integrated with the fairy tales told by the work, and blend in form and quality, allowing the audience to feel a strong emotional resonance and a relaxing and comfortable audio-visual experience.
In its unique narrative, the film pays more attention to delicate, euphemistic, affectionate, moving emotional rendering, human nature analysis and the reveal of the unique characters of the characters.
The vivid and detailed captures that can be seen everywhere in the play not only allow the audience to watch the movie and see people, but also make the characters feel emotional and sexual.
I can't help but feel that the movie can still be shot like this?
In the film, whether it is the "mother-daughter relationship" between Xiaoxue and Huo Nana, or the sisterhood relationship between Sunshine and Xiaoxue at the end of the wild flower, they all create an atmosphere of positive, kind and loving.
Such a scene in the film is sighing. Liu's magical pink powder will make people forget the past, and Nana who accidentally inhales is no exception. Just when Sunshine faces the already "unfamiliar" Nana alone in the transport truck, Everyone thought that the pounce was a fatal injury, never thought, but it was Nana's long-lost act of acting like a baby.
The plot reversal tells the audience an interesting truth that love is the antidote to not being lost in the illusion.
Ba Jin once said: "Friendship was like a beacon in my past life, illuminating my soul and giving my life a little bit of brilliance." In the film, Xiaoxue and Sunshine became bright lights in each other's lives. Shadow, one is the dreamy snow in winter, and the other is the hot light in summer.
The staggering between the two makes each other's four seasons complete.
This setting is closely linked to the present, inspires empathy, and makes the public understand that even if life is indifferent and helpless, there is always someone who can arouse all hope and enthusiasm.
"Sunshine Robber" strives to use film and television aesthetics to truly and accurately present and restore life.
Whether it's the warm and joyful petting office, the rippling blue sea, the blue breezy sky, the playful chase of Tiger Nana, or even the leap of effort at a critical juncture, it can be said to be meticulous.
In terms of artistic expression, the creative attitude of this work to pursue quality is also very worthy of recognition.
In the general trend of genre creation and industrial production, it is the best choice to retain personal expression.
As the film producer Fang Li said, “We also want to share a movie full of sunshine, joy, fantasy, adventure, and romance with all our audiences.” Based on this, we are in the “Sunshine Robbers”. "I saw more of ourselves, but also let us see the love and healing that everyone longs for in the real world.