永安镇故事集

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原名：永安镇故事集又名：Ripples of Life

分类：剧情 / 地区：中国大陆年份：2021

简介：电影《永安镇故事集》是一部“关于电影”的电影，叙述了一个剧组入住拍摄地，给这个原

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更新时间:2024-06-06

永安镇故事集影评：[Film Review] Ripples of Life (2021)

RIPPLES OF LIFE is the second feature of millennial filmmaker Wei Shujun, a dramedy about a film crew’s preparation for production in a rural town called Yong'an, in Fujian Province (its Chinese original title can be literally translated as "the stories from a town called Yong'an", yet ripples of discontent, discomfort and disagreement start to assail various characters.

Divided into three chapters, each titled after a Chinese film ("独自等待” Dayyan Eng's WAITING ALONE, 2004; “看上去很美” Zhang Yuan's LITTLE RED FLOWERS, 2006 and “冥王星时刻” Zhang Ming's THE PLUTO MOMENT, 2018) and revolving around different characters, RIPPLES OF LIFE can be best appraised as a metafictional practice of filmmaking per se.

The first chapter, WAITIN ALONE follows an outsider's perspective of peeping into the process of film pre-production. Xiao Gu (newcomer Huang Miyi, resembling a young Zhou Xun in several frames) is a young mother who is disaffected with her mundane life and an inconsiderate husband (Liang Ming). Rubbing elbows with the film crew by dint of the catering job of her restaurant, she insinuates herself to acquire a taste of attention and glamor after being recommended as the stand-in of the leading actress. But that self-pleasing feeling of "being somebody" is so evanescent, once the famous actress arrives, she is summarily relegated back to the status quo. The proficiency of handling a live fish becomes her last defiance.

LITTLE RED FLOWERS is centered on the aforementioned name actress Chen Chen (Yang Zishan, self-consciously capturing the jaded fantods of a celebrity consumed by the showbiz’s glitterati). Returning to her hometown after almost 20 years, she is ill at ease to the townsfolk's fanfare and being put on a pedestal as a name card of the town, which undergoes a substantial development of tourism. Her attempt to recapture that nostalgic feeling of the past is put paid to after her encounter with some old classmates, especially Chen Hong (Yang Jin), probably her puppy love sweetheart. A seemingly cordial family dinner turns bitter and opportunistic in a moment's notice, underscoring an irreparable incongruity and gap between a celebrity and the commoners.

Last chapter THE PLUTO MOMENT is a prolonged two-handler between the director (Liu Yang) and the screenwriter (Kang Chunlei, also the film's co-scribe), about the unforthcoming shooting script. Their divergences on authorship, ideology, personal expressions and tastes are elaborated in a string of heated debates that ultimately sounds like a broken record, albeit the gleam of witticisms and ironies that crop up in the script. In a very masculine fashion, the seemingly irreconcilable debate is brought to a halt by the tidings of Diego Maradona's passing, accompanied by the eternal strains of "Don't Cry for me Argentina". It seems that Wei's film has designs on the evocation of an artist's constant struggle for idealism and integrity against the antagonistic external demands, but the film's worse-for-drink long-windedness may accidentally prove that maxim - empty vessels make the most noise. RIPPLES OF LIFE brings down its curtain as the film-within-a-film starts its shooting as if nothing has changed, and indeed nothing has. Like its title indicates, ripples appear and disappear, leaving nothing behind, an oriental Weltanschauung which can salve the minds ailed by mundane concerns.