Chapter 56 Chapter Fifty-six: Edge-Ball Aesthetics of "One Country, Two Cities"

Zhang Jingwei's works often give me the feeling of edging the ball. "Music Life" went from elite to anti-elite, and "Dark Green and Brilliant Red" went from anti-drug addiction to showing a far more complicated youth story, all of which are filming methods that leverage strength.We all understand that today, without a specific starting point, there will be no opportunities for production. However, it depends on the director's personal attainments to maneuver around the scope. That's why "One Country, Two Cities" is more interesting. At first glance, I thought that the director chose the perspective of a social activist this time, intending to uphold justice for Yingxue, the protagonist of the documentary, and speak out for the children of Hong Kong people from the mainland to fight for the right of abode in Hong Kong. , especially when I saw the clips of Father Kam Tsai and Chang Mao (Mr. Leung Kwok-hung) in the rally, I couldn't help but feel worried in my heart, worrying that it would become a functional human rights documentary.Fortunately, Zhang Jingwei has never been a creator who acts according to the book. He quickly noticed Yingxue's ambiguity from the documentary segment-the final ending of the film is more open, even if some people use this as a basis to criticize the application of the children of Hong Kong people in the Mainland. The impracticality of residency is not beyond my expectations.

On the surface, the documentary focuses on appealing for the right of abode in Hong Kong. Due to policy constraints, Yingxue was unable to follow her parents to live in Hong Kong when she was a child. It is said that the mainland government stipulated At least one family member must stay in the hometown, in order to continue to support and build the old residence.After growing up, she already had a stable life with her husband whom she met in college, and she was always the envy of her peers. She had a house and a son, and her life was worry-free.But it was just to come to Hong Kong to fight for the right of abode. After going there for three years, the lawsuit ended in failure. After returning home, I found that my husband had an affair. After confirming the divorce procedures, I chose to bring my son to Hong Kong to stay with my elderly parents. At home, relying on his son's CSSA money to live.

There is no in-depth analysis of Yingxue's inner world in the movie, but after the middle part, the documentary has obviously had a marginal effect.Yingxue, who was originally arousing sympathy under the camera (bringing her son to attend demonstrations, taking care of his daily life and food, and even her elderly mother still working as a cleaner in the shopping mall to support the family), as she brought her children back to her hometown to renew her certificate In the daily life, the audience began to have constant thinking about her choice.She can still live in her ex-husband's house when she returns to her hometown after divorce, and even her newborn daughter is reborn with her ex-husband after divorce.Her ex-husband asked her to get back together but was rejected.In my hometown, I can go back to my old residence to visit relatives and go to the grave, and I can also hang out with my old classmates in Quanzhou City. The life I live is far better than that in Hong Kong in terms of material and spiritual, and it naturally makes everyone feel full. Mystery: Why does Yingxue insist on becoming a Hong Kong citizen?

Although the director didn't ask Yingxue for the answer, he raised the possibility from the side through Yingxue's friend Teacher Wang's marriage experience.Teacher Wang and Yingxue are from the same hometown. Since childhood, she has been very concerned about her background as a "country girl". During her adolescence, she has been trying her best to dress up in hopes of getting rid of the rusticity.After getting married, her husband actually chose an ugly girl with urban household registration and abandoned her. Since then, she has been deeply shocked. Even though she tried to delete the memory of her ex-husband, his image still flashed in the middle of the night when she dreamed back. Brain.An illusory identity has become the core element of a generation's spiritual yearning behind it—whether it is Quanzhou or Hong Kong, for different people, it is a dream-seeking process constructed through the capture of identities.As for the real content behind the dream, it is not very important.As the director pointed out, in order to fight for the right of abode in Hong Kong, Yingxue took the method of breaking up her family (preferring to be separated from her husband for many years, and even if she successfully applied, it does not mean that her husband can come to Hong Kong at the same time) to appeal to Hong Kong "Family reunion", in the final analysis, is a biased justification for self-slapping.

It’s just that I think the director is more accurate in capturing the loneliness of a generation—Yingxue, Teacher Wang, and their other old classmate Xiaoying (who is married well and lives in a mansion in Quanzhou, but her husband only returns home three times a month) Five days, the movie also hinted that it would not ask about her husband's work, life and relationship status outside).Chatting over wine on the rooftop of a mansion is the ultimate in dislocation.Yingxue chose not to talk about her love life, Xiaoying kept telling her about the stability in front of her, and Teacher Wang tried her best to show her optimistic side (the director later told her that she had been on blind date dozens of times after divorce)—everyone went out to protect themselves The identity pursued, no matter whether the material conditions are rich or poor, will always remain as a mountain, bearing all the "side effects" and living on.That kind of ruthlessness is exactly proportional to the loneliness behind it, which makes people shudder to watch.