Somewhere in the land of the worn-out metaphor, there is a drawer where all the filmmakers are overflowing with love letters who once thought of making a movie. But it seems insufficient to combine Zhang Yimu’s “one second” with them when it’s the fifth-generation filmmaker to become the medium’s most direct and heartfelt Valentine – although, within four decades of his 1981 debut, “Cliff Walkers”, he has rarely made a film that could be considered anything else.
This time, the movie is rewritten as Liu Haokun’s horrible, bright-faced close-up dries up in simple and pleasant language and sentences made with sticky celluloid flashes in the projector’s flash. “One Seconds” is not just about the magic of the film, it’s about their resilience, and so it’s appropriate – even running – which has been forced by Chinese censors despite the omissions and additions since it competed at the 2019 Berlinale, the film has survived so vividly. It has been reconsidered and partially re-shot, but its essence remains intact, and however, despite the heavy hand of censorship, some more powerful paragraphs and a two-and-a-half year delay in delivering love letters, if you hold it close to the light, You can read what happened.
In contrast to the complexity and complexity that Zhang’s end has narrowed down to some spectacular but emotionally distant genre entries, there is an almost silent-cinematic simplicity to the plot. It’s 1975 and an unnamed fugitive from the prison camp (Zhang Yi, also in “Cliff Walkers”) is hanging out through the desert. In a nearby town, “Mr. Movie” (Fan Way), “the world’s greatest projectionist,” according to his tea mug slogan, is barely over for the night. Confirms its promise), an orphaned girl with scary hair, helpless ready to jump into the reels of the movie left by Mr. Movie’s slow-witted son.
Liu shakes. The fugitive was caught red-handed snatching the reel six of the 1f propaganda film “Heroic Sons and Daughters”, which Mr. The movie, at least the lip service party guy, has been touring for many years. In Forgiving Territories, Zhao Xiaoding’s great camerawork captures a vast expanse that is associated not only with its dusty splendor, but also with the possibility of irrational comedy, orphans and fugitives in their buster Keaton-style chase antiques. And in the process of getting the reel back to a grateful but cautious Mr. Movie, a “Paper Moon” bond is formed, which is not acted out explicitly but emotionally by the two actors.
Each of the three principals has different reasons for coveting the film reel and you can read each of them as a symbol of a different side of what it means to call a film to Chinese society at that time. The realistic, poverty-stricken Liu wants the real, practical thing সেল celluloid হিসাবে as a reusable ingredient in something else. Mr. Movie is a showman who prides himself on both his commitment to the industry for his professionalism and his cooperation in political needs স্বাভাবিক naturally he wants to project the entire film in all its proud, evangelical glory. Of the three, Fugitive is the most romantic, and the most confusing reason to go after Reel: he believes it may contain footage of his long-separated teenage daughter.
As it happens, the department that Liu steals is not looking for fugitives. That news reel, as Dumb Fate Will Be, has been accidentally exposed and dragged through the dust and mud. It will take a concerted effort of an entire village to clean and reassemble – a sequence of Zhang shoots with a trademark blend of touching tenderness and epic visual flair. The procession in the town hall, the lifting of the sheets for use as a screen, and the diligent retrieval of the entangled footage are all in a heartwarming bittersweet poem about the movie. A work of collective faith is required.
Reading the title “Two Years Later” which introduces a fuck, if you gambled, you would bet on the farm not to be part of the original movie. You can almost suspect in the meta-commentary Zhang that it’s been more than two years since “One Second”, since it was first conceived, due to the premiere. But even in the era of the eroded cultural revolution there is a clear compromise about where it is happening (“The posts are really a scandal!” : Zhang has been a movie master for decades, but “One Second” shows that he knows that movies are his mistress, and a harsh and sometimes incompetent mistress. Rather it is a warning about the possibility of its drug abuse, as well as a clearly directed response to every foolish dreamer ever drifting away from a real, living thing rather than chasing a strategy of light.