Full and dripping green, direct sunlight on your face, pouring rainstorm. White lotus, huge pale pink plantains, and shaky orchids in slender vases. White mosquito nets and carved wooden tables can’t cover the broken flower curtains in the scorching sun. The fragrance of green papaya, the impact of coffee and ice, and the coolness of fingertips when mango meat is gently sliced. Black gown, white cotton pajamas and purple skirt. Wake up in the morning, sing a song after dinner, and sing Vietnamese folk songs by the bed. Long glossy hair, meticulous lip color and three light wrinkles in the corners of the eyes.

Chen Yingxiong’s films will never escape his fetish for beauty. It is this pure fetish of beauty for the sake of beauty and avoiding any meaning that I can’t forget again and again. I once cared that the musician fell in love with the maid in the taste of green papaya, dispelled the lightness of the class, disdained that the little gangster in the tricycle driver engaged in performance art when he narrowly escaped death, and threw the two films aside after watching them. However, the water drops on the banana leaves after the rain began to haunt me. It turned out that what I fell in love with was just the plain beauty without reason or even emotional color. Therefore, Chen hero’s greatest contribution is to create the unique beauty of Vietnam.

Watching “vertical sunshine” just wanted to quietly indulge in this unique and simple beauty. I didn’t expect that the director finally reached his personal peak. Some people are petty bourgeoisie and some are middle class. Making the best petty bourgeoisie or middle-class movies can also be regarded as an achievement. If you look at the plot of the film with the requirements of ups and downs, it is not surprising. However, in this world composed of a family, there is a strong to greasy emotional attachment between people, and a more fluid emotional surge. Even tear bullet films of life and death can’t compare with it.

The feelings of Asians are often not understood by Westerners. On the one hand, we don’t have a passionate way to express our feelings. On the other hand, our feelings are so long and deep that one look and half a smile can set off huge waves. Our feelings are not only as heartless as romantic love, but also with our parents, siblings and friends. The so-called ambiguity in the film can not be understood by Western attraction. The instant attraction in spirit and body can not explain the almost impossible emotional attachment between people. The eldest sister and her husband were occupied by another opposite sex, but a withered relationship branch blossomed and fruited again after being cut off (the husband confessed the existence of another woman and child, and the eldest sister broke up with the affair); The second sister and her husband warmly welcome the new life, but they are distracted privately (the second sister asks the eldest sister if she has ever thought of cheating. Her husband enters the door of a beautiful woman in Saigon, although he finally leaves quietly); The little sister is looking forward to getting pregnant with others. Maybe she just wants to get rid of her emotional dependence on her little brother. Are these the so-called human feelings? We can never live just for ourselves, because we are so attached to others. Human feelings are cold and warm, and we can’t escape the shackles of human nature. Emotions will die for one reason or another. But the real attachment is reborn after death.

At the end, the little brother asked, why do we only celebrate the death day instead of the birthday? Because death is the beginning of real life. When the fatigue of life and death strikes, only the plain beauty is eternal, even if it is as inhumane as heaven and earth.

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