Life is Beautiful La vita è bella
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Directed by Roberto Remigio Benigni
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1997
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2h 05m
The film employs Italian exaggeration and freehand techniques to craft a poignant narrative of paternal love. It juxtaposes beautiful fabrications against the harsh realities of war, ingeniously creating a small utopia within an oppressive environment. This fictional haven is anchored in the unwavering belief in the eternal aspects of human nature: love and hope. These qualities are seen as essential for the survival of humanity on this planet.
The narrative meticulously constructs its characters from the outset, establishing their traits firmly. As the story progresses, these details are cleverly interwoven into the increasingly oppressive political climate. The gradual infiltration of horror into everyday life is depicted through vivid imagery: from the imposing portraits of significant figures on the streets, the exclusion of Jews from stores, the humiliation of being labeled a "Jewish horse", to the more frequent and chilling 'please go' orders.
The phrase "Good morning, princess!" resonates as a declaration of love, echoed in two heartrending broadcasts—one a farewell, the other a final goodbye, each uttered with a blend of tears and laughter. The line "Joshua, this is a dream" stands in stark contrast, uttered against the backdrop of a real nightmare, amidst the foggy night surrounded by the bones of thousands. This juxtaposition powerfully underscores the film's exploration of love, hope, and the creeping horror of war seeping into the crevices of everyday life.
Shoplifters 万引き家族
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Directed by Hirokazu Koreeda
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2018
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2h 01m
The most arduous growth merely leaves its husk clinging to the tree, while the most brutal wounds impart nothing but scars upon the skin. The most breathtaking fireworks are those unseen in the heavens, and the deepest expressions of gratitude are often those whispered into the wind, their words indistinct. You showed me the most savory ways to savor a meal, yet also revealed the most ignoble means of acquiring sustenance. I mastered the most heartfelt gestures of prayer, only to use them in seeking the most unworthy of desires. In secrecy, I traded my childhood for treasures in the store, while you interred your scars deep within the earth. Together, in this intricate dance of survival and sacrifice, we forged a family.
Eat Drink Man Woman 饮食男女
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Directed by An Lee
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1994
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2h 04m
This film intricately explores the dynamics of a family, delving into the parent-child and sibling relationships with a keen eye for emotional nuance. Each character is sculpted with a vivid three-dimensionality, their personalities consistently portrayed throughout the narrative. The eldest sister, bound by the constraints of religion, traditional culture, and personal struggles post-breakup, harbors a spirit as untamed as a wild horse. The younger sister, seemingly free-spirited, is well-versed in motivational mantras yet harbors a quiet yearning for a spark to ignite her reserved nature. The middle sister appears outwardly open and independent, but she is deeply tethered to her familial bonds, her father's approval, her craft, and her emotions. The father, grappling with the fear of aging, clutches at life-saving straws as his children depart and old colleagues pass away, choosing to abandon his current family in a desperate attempt to create a new one.
The movie is likened to a lavish feast, presenting a diverse array of dishes that symbolize the myriad styles of life and emotional states. From stir-frying to boiling, roasting, steaming, and more, each cooking method reflects the varied worries, anxieties, and aspirations of the characters. As they live under one roof, the air in the room seems to push them apart, suggesting that only by opening their hearts can they truly step out of their own confines and understand each other. This film is a rich tapestry of human emotions, capturing the complexities of familial ties and the journey of self-discovery and acceptance.
Love Never Ends 我爱你！Check my photo album
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Directed by Han Yan
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2023
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1h 56m
Warmth and loneliness coexist, sweetness and sadness are intertwined, the coupling of life and death, and the overlap of heat and cold. In the first half, the elderly replace the typical protagonist of a romantic film, evolving from happy enemies to mutual supporters; in the second half, the film adopts a realistic approach, fully exposing the social and family situations of the elderly, which appear particularly "tragic." The film delves into the romance of love, the calmness in facing death, the regret of being distant, and the sincerity of lifelong companionship. It is delicate and moving. The movie presents a perspective: As life approaches its twilight years, will you still maintain your belief in love? Although many people have lost confidence in love nowadays, having someone by your side in old age is exceedingly rare.
Mountains May Depart 山河故人
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Directed by Jia Zhangke
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2015
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2h 1m
Spanning three distinct time periods and employing three unique styles of storytelling, this film narrates tales set against the backdrop of their respective era's upheavals. The first two segments showcase the director's flair for creating a local, magical atmosphere: the pulsating rhythms of pop music, unrestrained dance; the desolation of old coal mines in chilly Shanxi; and the echoes of fading memories amidst a pervasive loneliness.
Jia Zhangke consistently explores the theme of the diminishing distance between individuals and the world in the relentless tide of time, a recurring motif in his films. In this latest work, however, he approaches this theme with increased finesse, weaving in threads of tenderness and ambition, particularly noticeable in the third act. Although this segment feels somewhat disconnected from the preceding "Once Upon a Time in Shanxi", it continues to probe the director's contemplation on the relationship between the individual and the cultural matrix. It raises a poignant question: What kind of identity will emerge from a baby who has lost its "umbilical cord" to its heritage?