The movie "Article 20" directed by Zhang Yimou is currently being screened in theaters. The box office trend of the film is good, and it continues to be in the fourth position in the same period. On the first day of the Lunar New Year, I did some film review analysis of this movie, thinking that the film was placed in the Spring Festival file of the family carnival, because "the box office will definitely be affected in several places, but this is not the problem of the movie itself, the problem of the movie itself, is that in its narrative logic, there are many places that cannot be justified."
After this article was posted, I saw some very "peculiar" comments. For example, I think that this film review of mine is just my personal opinion, and "it" means that fans think that this movie is very good and everyone should watch it quickly. For another example, there are many "account" messages saying that this movie is a family carnival and is suitable for watching with children, there is no *** content, everyone should watch it quickly.
I simply think that these messages are consciously posted by fans who are watching the movie, and they are the "tap water" behavior of the film. While some fans help this movie consciously market, I think that movie marketing should have a basic bottom line, and it can't be that there is *** in the film but insist on saying that it is a family carnival, and turn a blind eye to ***. Is it difficult to recognize Article 20**?
I've already explained my personal opinion in my first review of the film - it's common sense that any critic can only explain his personal opinion - there are three places in this film*** The first two are relatively light, and the third is the heaviest. In the first two places, one is that the bus driver was suddenly hit and killed, and the other is that the character played by Zhao Liying jumped off the building and smashed directly on the roof of the car, and the special effects sound was full.
These two bridges, if viewed in the way of movie classification, should be at the level of parental escort and guardianship. If it weren't for the emphasis on the emotional scheduling of the movie should be full, then the scene where Zhao Liying's character jumped off the building could pull the special effects sound to zero. Director Zhang Yimou is good at using the lens language to mobilize fans, so there will be "suddenness" in these two places.
The *** in the third place is that the village ruffian tied up the role of Da Pan like a dog, and then violently harmed and sexually insulted Zhao Liying's character in person. From the perspective of movie emotional mobilization, this kind of content, of course, is ingenious and can easily mobilize the emotions of fans. A similar example also appeared in another Spring Festival movie "Man Jianghong" directed by Zhang Yimou.
Even "The Thirteen Hairpins of Jinling", director Zhang Yimou's work, is also "making a fuss" about women. Around this kind of humiliation and damage to women, especially the double humiliation and damage of the mind and body, can quickly establish the emotional stimulation of the movie screen to the fans. Director Zhang Yimou used this kind of trick to stimulate fans, and he tried it repeatedly.
However, I don't think this kind of stimulation should be used for the body and mind of underage audiences. This is one of the main reasons why I say Article 20**. If the first two places are just violent visual stimulation on the eyeballs, then the third place is a sexual related mental stimulation. Have we built the minds of our underage audiences so that they can withstand this kind of stimulation?
This kind of spiritual construction needs to be completed by parents, of course, it can also be completed with the help of schools or other social organizations. After the underage audience watches "Article 20", what kind of spiritual construction should we do to them? This is the most important answer for those who say that Article 20 is not ***. If they say that they don't need to build a mind, it just shows that the psychological damage that this film may cause to minors is obvious.
It can't be simply explained that young fans can't**, but it should be interpreted that young audiences are accompanied by their parents**, and after encountering uncomfortable content, parents can answer questions for underage audiences and carry out correct psychological construction for them. However, at present, how many of our parents have the ability to effectively build their children's psychology?
In the face of the third exciting content that director Zhang Yimou came up with in "Article 20", what I am most worried about is that it will leave a shadow on underage fans. For male underage fans, after watching this content, will they be biased towards violence in what happens to men and women in adulthood, and ignore, model and ignore the normal psychological demands of women? For female underage fans, after watching this content, will it directly affect them, causing them to be afraid of their spouses and this lifestyle after they become adults and have normal physiological demands?
If we had a reasonable psychological construction before or after watching this movie, these two shadows would not breed. For example, our adult audiences, especially those who have formed a family and have a harmonious married life, know very well that in married life, we must respect women and take women's wishes as the biggest premise. We have the ability to resist this stimulus.
But what about underage audiences? They are not yet adults, they have not yet formally established this resistance capacity, and there is no reasonable psychological construction. The movie is exciting, but what about after the excitement? Adult parental viewers, should they pay attention to the psychological construction of minors?
Therefore, I think that acknowledging "Article 20"** and helping underage audiences to do a good job of corresponding psychological construction, instead of shouting, this movie is a family carnival and suitable for children to watch, which is the top priority, and it is also the bottom line requirement of film marketing.