Roadside Picnic" narration text no heart but lived nine years

"Without music it degrades the ears / Without precepts it extinguishes the candle / Like going back to the days of misunderstood illumination / You take in my soul / Without razor it blocks the language / Without heart it lives for nine years." --Picnic by the Road. Among the slightly obscure poems by Chen Sheng in the film, this is the most impressive one. Bi Gan cleverly shaped a lonely soul thus to enlarge the dimensional space. The poem and the small props are used to enhance the sense of language and sentiment, and the whole film is basically dispatched to convey the division line of feeling the time and positive forward. Most of the shots (including that delightful long shot) sway in a dream, a time when most souls were taken, misunderstood as living with a heart. The humid and delicate subtropical climate gives a spot-on backdrop for the dreamy shots set in the film. In Roadside Picnic, specific characters are designed to play supporting roles to Chen Sheng at different time coordinates, an illusion that enriches the protagonist's surroundings, just as the poems begin to be recited whenever Chen Sheng is the only person on camera. Essentially Chen Sheng is a scattered and dissipated almost emptied of soul flesh, appearing extraordinarily lonely and desolate. But incredibly, in the 110 minutes of editing, Bi Gan makes Chen Sheng exude a verve that pulls people's thoughts and emotions. The point of "Roadside Picnic" is the camera work and editing. The whole movie achieves several places where one shot finishes the content of a space well to the end, and the efficiency of the long shot in dealing with the conversion plot is quite high. A more careful observation of the burning brain will find that the clever editing and the sense of reading poetry makes the shot after shot seem reasonable, and the story line is connected very complete. The movie uses a "nine years" time coordinate to divide the "past, present and future" into a very vague and abstract way. The context of "nine years" is understood by Chen Sheng in the barber store wiping tears, and the story of the whole movie is understood. Nine years ago, the Kerry gangster Chen Sheng in order to raise money for his wife to see a doctor, the monk of a black money to send Chen Sheng to prison, nine years, Chen Sheng "no heart but lived nine years", nine years later is basically set in more than 40 minutes of long shots in the dream of swinging wheat. That is a road for Chen Sheng to find his soul. The road is there, the picnic is actually a hope, is Chen Sheng looking for Wei Wei's sentiment, and this sentiment Bi Gan in the film designed a number of scenes to express. Chen Sheng took Wei Wei to play in the beginning of the film, the middle of the argument with his younger brother, Old Crooked, and the conversation with the flower monk at the end of the film. All are the ultimate expression of this sentiment. From this perspective, "Roadside Picnic" is a road movie that conveys self-redemption and positivity. The "wild man" in the film is essentially a spiritual burden, an illusion created under special circumstances in the plot. It is the vehicle used to take responsibility in the environment where the soul is taken (the driver's confession in the car accident is that he saw the "wild man"). It is the "executioner" used to cut off the hope (the opening of the film Wei Wei with Chen Sheng said that a person at home was threatened "wild man" will come to take him away). It is a self-portrait of a group of people who are blocking themselves in an environment where candlelight is extinguished. Bi Gan uses a lot of props to intentionally or unintentionally convey the connection of dimensions, the most impressive being the "Mirror ball" and the cassette tape in the dance hall, which connects the time when his wife was with him and the time when he is alone now. For the whole film through the "time", the use of dimensions to express the film's time coordinates is more appropriate, the director is very covert and sultry use of different dimensions to feel the past and the development of hope. The highlight is the long shot that starts from Weiwei's unmoving motorcycle. This rich dreamy shot is the excitement of the whole movie, combining the emotions of despondency and sadness, positive and beautiful, hope and long-cherished wish, which is very sentimental and happy. The environment of Kerry's characters is full of jerks, once and now. But obviously, Bi Gan uses Roadside Picnic to convey a hope: not anymore. The detail that best expresses this inner thought of the director is the appearance of the band at the end. In the dreamy long shot, two waves of young people appear, one wave of young people who make their living by playing motorcycles (bullying Wei Wei), and one wave of young people in the band (the apprentices of the Miao people), creating a stark contrast. In another scene is also more layered to highlight this contrast, Dangmai and Kaili have an almost identical loft, set up a few pool tables, Kaili's pool table in front of a group of young punks playing, while Dangmai's pool table in front of the band of young people playing, the camera followed the direction of the barber store woman to look over to convey the two waves of young people are not the same place. And in this dream of Swimmer, the adult Weiwei is a half-baked product with potential to be cultivated, and Chen Sheng as redeemable. Matching the scene later when Chen Sheng uses binoculars to look at child Weiwei with the corners of his mouth raised. The climax worth mentioning is Chen Sheng singing "Little Jasmine" to the accompaniment of the orchestra, a feeling very similar to the emotion of watching the final solo dance of Zhang Zili played by Liao Fan in "Daybreak", a heart tightening tears to collapse emotions. The first time was when Chen Sheng was sitting in the band car listening to it, and here he preferred to understand it as an expression of the joy of finding hope, and the second time was when Chen Sheng sang himself to make up for the regret of not singing to his wife, and the raw character image was extremely emotional, and the vivid plot was sublimated with great beauty. One of the things I don't understand is why the camera rushed to the sky once when Chen Sheng was singing "Little Jasmine". As Bi Gan said, "Roadside Picnic" can actually be applied to any movie title. Yes, when the content is complete and all that you want to express is in place, "Road" is there, and "Picnic" is left to the audience to take their own seat. Bi Gan's "Roadside Picnic" expresses nostalgia and hope. It's a bit sad and spontaneous, feeling nostalgic for the geographical environment and human complex of growing up, and then putting his hope in the long shot of dangling wheat. The end of the popping cigarette with two trains meeting and passing, a scene of a hidden clock backwards is a kind of living with hope back to the present, popping ash is the past, now to do is to sit down on the train forward. Do not continue to live nine years without a heart, the movie outside everyone's "Roadside Picnic" is so. Would love to know: swinging wheat, the band arrived at the destination, the alcoholic (the driver of the band car) went to the store to get wine, from the inner room out to get wine to the alcoholic is the director Bi Gan?