Although Jia Ling's "Hot and Hot" has a box office of 3 billion is a foregone conclusion, and her only two film works have exceeded the box office of 8 billion, ranking among the world's first female directors, let's assume, let's assume -
If Jia Ling made the same movie under the shell of a man, would the title be more direct and commercial? For example, it is called "Becoming Thin and Beautiful". In the movie, Le Ying's story is no longer the liberation of gender, but has become a history of struggle to pursue external standards.
OK! "Hot and Hot" is not a male perspective.
Under the lens of men, perhaps "Hot and Hot" is just an ordinary ** note, without the delicacy and deep understanding of women, the audience may only have the word "thin" printed in their hearts.
In the film of a male director, Le Ying may no longer be the multi-dimensional and complex image, but has become a simple demonstration: the story of a woman who works hard for love, for work, and for social recognition.
There is no shortage of markets for such films, because most audiences, they need to see hope, they need to see a moving story from fat to slim, just as they need to see a fairy tale of Cinderella's transformation.
Without Jia Ling's detailed foreshadowing, the film becomes a typical inspirational film, which is full of bold narratives about the transformation of a people-pleasing personality into self-identity.
Movies may be a big hit, because the commercial film market is always hungry for simplistic, popular stories.
But I'm sure female viewers who wait in line outside the cinema to feel the resonance may be disappointed.
Then, whether such a movie can sell 3 billion has become undecided.
Boldly speculate, if the male director tries to grasp this movie with the vision of **, then he is like dancing with shackles, thinking that he is opening up a new film horizon, but he has been slapped to death on the beach by the huge palm of the market.
Cinema, the art, is far more than just the turn of the camera, and it is not a brutal box office competition.
What exactly is the criterion for the success of a film?
Is it the box office, the audience's resonance, or the critics' nit-picky words?
Jia Ling's "Hot and Hot" can be applauded, not just because of the selling point of "thinness", but because of the mental journey that oscillates between obesity and social expectations. In this journey, the heroine grows, and it is only when she truly falls in love with herself that it is possible for others to love her.
The core behind the film is self-identity, a profound encouragement to those who are torn between ** and positive energy of the body.
Under the tutelage of a female director, the film incarnates as a gentle narrator, telling us that it is more important to find the self that has been gradually lost in the long river of time.
Le Ying = Ling, Jia Ling's autobiographical narrative?
The role of Le Ying makes people think again: what is a real female perspective?
In "Hot and Hot", she seems to be an elusive and even somewhat casual character in the eyes of others.
In the movie, her phrase "depending on the mood" has become a strong personality label.
However, this attitude of hers is not unwarranted willfulness, but a response to the sense of powerlessness of reality.
Le Ying is not bound by the inherent framework of society, in fact, she is using her own way ** those rules that constantly try to define "how women should be".
In the real world, women are often expected to present themselves in a specific way, and are molded into an ideal image by society - whether it is a gentle and virtuous "strong woman" with a successful career, or a perfect goddess with a supermodel body.
Leying's "mood seeing" suggests a choice, a way to assert oneself even in a world full of injustice and stereotypes.
Such an attitude is bound to be controversial. On the one hand, it is close to the modern idea of women who want more autonomy and are not defined by the outside world.
On the other hand, Le Ying's neglect of societal expectations and her own path makes people wonder if she is just escaping reality psychologically and behaviorally.
Nowhere is this more evident than in the film's poor reviews, with some critics saying that the premise is too idealistic to be realistic, ignoring the complexities and dilemmas of women in making realistic decisions.
By portraying the character of Le Ying, Jia Ling provides a window for the audience to show their true emotions and behaviors.
She doesn't perform flawlessly on every occasion or always makes decisions that please everyone, but she's honest, authentic, and empowering.
Even in the face of overwhelming criticism and bad reviews, she can still represent the modern women who do not want to follow the crowd and want to control their own destiny.
Halfway home, why is Director Jia Ling?
The key to Jia Ling's success is that she doesn't follow the established template of a film from a male perspective, nor does she try to play with words.
In a society where gender stereotypes are still somewhat entrenched, she uses the perspective of an ordinary woman to dig into the niche stories behind the public.
And this attempt, commercial or not, is a brave exploration.
When a film does not have empathy and real shaking from a female perspective, it is difficult to impress female audiences who go to the cinema to find self-reconciliation and liberation.
The reason why Jia Ling is successful is precisely because she broke the routine and showed the voice and temperature of women to the world without reservation under the lens.
Jia Ling's success also lies in the fact that she has touched the hearts of hundreds of millions of fellow travelers with her delicate thoughts of women; From a different perspective, the soul of the story may change.
If you insist on saying that if Jia Ling is transgender, can she shoot the 3 billion box office "Hot and Hot" from a male perspective, I think this is not only an embarrassing simplification of this movie, but also a disrespectful assumption of male directors.
After all, a good movie does not distinguish between genders, only whether it can touch people's hearts.