During this time, the movie "Removing the Three Evils Around the World" can be said to have set off a wave of discussion among the majority of netizens.
This new out-of-the-circle Taiwanese movie, whether it is scale, acting skills, or plot, is very amazing.
Why do Taiwanese movies always have hits? In addition to the large-scale plot of ***, what kind of spiritual core is there?
"Removing the Three Evils Around the World" wins at**?
The most recent well-received movie is "Removing the Three Evils Everywhere".
The box office and Douban score are all in a straight line**.
The movie blends action movies, police movies, and Taiwan's road movies, world movies, and black comedies.
Taiwanese films have always occupied an important position in Chinese-language films, and they also have their own unique style.
In recent years, Taiwanese movies have always occupied a place in the hearts of the audience with the trend of "one hit a year".
From "The Girl We Chased Together in Those Years" to Director Hou's "Assassin Nie Yinniang", and then to the social upsurge, Hui Yinghong and Wen Qi starred in "Blood Guanyin".
The rise of Taiwanese TV dramas has benefited fromIn 2016, the in-circle discussion established the creative direction of "local cultural fantasy".
Taiwan's film and television industry believes that local culture and realistic themes should be integrated into film and television creation, and has created a series of works with this goal.
It is in this context that "Everywhere to Eliminate the Three Evils" was born, with ups and downs in the plot and commercialization, and the title of the film quotes ancient Chinese allusions and uses a slightly absurd technique to tell the story of Taiwan's local realism.
In fact, Taiwanese movies have a special place in the hearts of many people, because it has always had its own unique temperament.
In the early years of Taiwanese films, the overall content was more inclined to daily life, and at the same time, it had a delicate style, unique lenses and application methods, and there was no reversal of the dramatic plot.
More importantly, Taiwanese films focus on the "human nature" that exists in those societies, and tell the stories in them like a trickle.
I've lived my whole life like this
Delicate emotions and focus on daily life in life, this is the characteristic and literary art of Taiwanese films.
This kind of literary tradition comes from **?
One part is the literary tradition from Taiwan, and the other part is the inheritance of traditional Chinese culture.
Stills from "Outside the Window".
In the "early" Taiwanese film industry, a large number of literary creators took the lead in entering the film company and became the mainstay of film creation.
literary films such as "The Story of Xiao Bi" and "The Man from the Wind Cabinet", and the screenwriter Zhu Tianwen was not only an important screenwriter of Taiwanese films at that time, but also a well-known female writer.
The Man Who Came from the Wind Cabinet
Then, a generation of Taiwanese film directors, mainly Hou Hsiao-hsien, began to focus on real real life.
Films that reflected reality gradually replaced most of the literary films of the time.
Compared with literary films, vernacular films are different in that they reveal more of the backward and ignorant side of society at that time.
Some of the unfair problems in society are also shown in the film.
The vernacular movie "The Man from the Wind Cabinet".
"Literature and art" is the background color of Taiwanese films.
The "literature and art" of Taiwanese films is to think more about deep-seated human and social issues such as life, human nature, and philosophy.
In the end, the film became another kind of deep thinking, and in the end, I realized the information reflected in the film and the social value embodied.
Seagulls Flying" stills.
"Literary style" as a characteristic of Taiwanese films, from the beginning of the emergence to the later development, it can be said that it is inseparable from the traditional Chinese "literature and culture", which is also one of the important factors that Taiwanese films have been famous all over the world.
Where is the pinnacle of Taiwanese cinema?
In fact, most of the Taiwanese films that have had a profound impact on everyone are from the "New Wave period" in the "middle period".
For example, "Once Upon a Time in Childhood", "The Juvenile Homicide on Guling Street", "Riding a Horse into the Forest", "*" and so on, still exude infinite charm to this day.
The period of New Wave cinema in Taiwan began in the late 70s of the last century.
Childhood Memories" stills.
This New Wave succeeded in changing Taiwanese cinema at the time, allowing cinema to begin to connect with society, although the number of films produced was not very large.
However, the fresh and natural humanistic pursuit and exploration have successfully changed the face of the entire Taiwanese film in the world film pattern.
Stills from the Juvenile Homicide Incident on Guling Street.
For example, Hou Hsiao-hsien's "City of Sadness" and Yang Dechang's "Yiyi" also won major awards at European film festivals one after another.
Their success is not only the crystallization of the new wave of Taiwanese cinema, but also a summary, and the end of the new wave of Taiwanese cinema.
Behind every tragedy, in fact, is an ordinary life. ”
Showing real life, delicate emotions existing in society, and truly reflecting the current situation of society, this is the Taiwanese New Wave film in the eyes of Yang Dechang.
As a representative director of Taiwan's New Wave film period, Hou Hsiao-hsien's concern and expression of society has become more "narrow", and family has become the first choice for his performance.
Hou Hsiao-hsien's works are full of calm atmosphere, and it seems that he does not feel the fierceness and strength of society.
Childhood Memories" stills.
At the same time, he also likes to stand in the third person position to observe and represent the world, providing a platform for everyone to think about the world quietly** at the same time.
The reality of life is also manifested in it, which is more in line with those real social problems, contradictions, hurts and sorrows, etc.
The films of the New Wave period in Taiwan not only made greater breakthroughs in subject matter, but also had a great deal of realistic humanism.
It also uses a unique and novel way of expression to analyze the most real society and the life situation at that time.
What will the future hold for Taiwanese films?
Although there were many excellent films during the New Wave of Taiwanese films, they have also been criticized by the industry.
Because of the lack of complete story logic, it is often far from the commercial market.
Moreover, Taiwanese films of that period have not been complete and supplemented in the structure of the entire system.
There are even Taiwanese film directors who believe that "art is crushing Taiwanese films".
In recent years, Taiwanese films, which have also been called "late", are gradually moving closer to business and the market.
In the new century, Taiwanese directors have begun to supplement and adjust, and strive to improve Taiwan's film industry system.
We were also surprised to find that the commercial taste of Taiwan's films in the new century is also getting stronger and stronger.
"My Girlhood" released in 2015 is the most surprising, and the formal business process has made the market begin to improve.
My Girlhood
The most important embodiment is that in the film "My Girlhood", the director strictly follows the commercial film model to create.
The content of the story, the performances of the actors, and the rhythm are more reasonable, and the plot is more smooth, which is in line with the aesthetic habits of the public now.
Compared with the past, the mainstream group of society is getting younger and younger, so youth culture has gradually attracted the attention and attention of the public.
From "Blue Gate" to Jay Chou's "The Unspeakable Secret", it has been proven that Taiwanese films have always used their own unique temperament to commercialize their efforts.
Stills from "Blue Gate".
In terms of commercial means, the producers and distributors of films try their best to use various marketing methods and word-of-mouth marketing methods.
successfully stimulated the audience's interest in the film, and finally won a very good box office.
Stills from "The Secret That Can't Be Said".
And Huang Xinyao's "Big Buddha Plath" and "Classmate Minus" also have good box office data, while literature and art support the content, the business supports the considerable box office of youth movies.
Now Taiwanese films are reshaping their industrial system.
Classmate Minus".
After watching "Removing the Three Evils Around the Week", many viewers began to question whether the unique literary temperament of Taiwanese films will be covered up by the gimmicks of the world, and whether they will disappear, or will they finally be integrated into the melting pot of commerce?
We'll just have to wait and see.