Spring Tide: Who Knows The Way Out Of The Tide?

Last year's best film in Shanghai International Film Festival, the family drama "spring tide" directed by female director Yang Lina was premiered in Iqiyi in May 17th. For more than two hours, the film tells about the entanglements, love and hate between mothers, daughters and granddaughters of three cities in a northeastern city. The director's capture of the details and the performance of the actors are accurate. In the movie, several scenes of fantasy and hallucination of the characters are also natural, but here I want to discuss the "spring tide".

Spring tide. Data map

Combined with the director's attention to women's awakening in the last movie, the heroine's intoxication in Taiwan's blind masseur's harmonica and the voice of the sea he recorded is not difficult to understand. If this lens shows the beauty and tranquility of the heroine in the gentle sensibility, can the tide of this beautiful and tranquility really save Jin Yanling's mother and her nine year old daughter Guo Wanting? From the performance of the film, the unconscious mother lying on the bed did not have any perception of the tide, but Uncle Zhou stood up in the ward to look at the tide coming in. The nine year old Guo Wanting seemed to feel the arrival of the spring tide. She took her friend away from her school hall and walked out of the playground. In front of a river, he wore a costume and went straight into the river. If this is a sign that young Guo Wanting will not ignore and suppress her inner needs as a mother and symbolizes her courage to face and release herself, then the different responses to the "spring tide" reflect the difference between the new generation of Chinese and the last two generations: the mother's desire for herself is usually negative and numb, and what Lei Hao plays. The daughters of this generation lingered in awakening and repression, and the new generation viewed them in a totally unconstrained way. Undoubtedly, the different attitudes of the grandparents and grandchildren of the three generation to their own internal needs are a metaphor. But the tide can not solve the problems that the film wants to explore.

Every generation has its own problems, and the director's perspective is undoubtedly focused on daughter Guo Jianbo. Her heaviness, her repression, and the equality and freedom she gave her were more like her tyranny and unreasoning resistance to her mother, which may not make her happy or happier, but she certainly did her own efforts to change her resentment and dissatisfaction, which was considered incorrect.

The heroine monologue, which appeared at the end of the movie, was considered too deliberate and too direct to the theme by some viewers. Judging from the realism shown in the whole movie, this paragraph seems to be true. The women in the film are always complaining, always expressing their dissatisfaction with each other in a noisy or silent way. Their real feelings and emotional needs for each other are invisible in the movie. In reality, the great probability is also deeply buried and put aside. The director's success lies in the fact that we can see that this relationship is "difficult to reconcile": when a tyrant and autocratic party is not aware of their own mistakes, the injured party is incapable, has no rights, and has no conditions to show understanding. In the sudden coma of her mother's room, the heroine carefully rubbed her hands and feet for the mother lying on the bed. From the movements, she could see her tender feelings for her mother. Later, she stood in front of the window of the ward, looking out at the night sky. There was an emotional monologue in her heart. In view of her oppression in front of her mother, this emotional confession is actually credible in this case: you are quiet, the world is quiet. A strong mother has never given her the opportunity to express her inner thoughts, and people's inner feelings and grievances need a window and channel for expression. In the face of a quiet mother on the bed, the heroine was liberated. At this time, her confession was understandable.

The symbolic spring tide is not the key to solve the "original family problem", because a person does not face up to his inner needs and can solve all problems. The solution to the problem often lies in a deeper understanding and broader love. As the film shows, in front of her mother's unconscious bed, uncle Zhou told her that the community chorus program was on the stage. The director's performance of the camera showed that her mother's eyes could hardly be moved, as if she had heard Zhou Shushu's words. This is ingenious. If the mother can perceive what is happening outside, she can perceive her daughter's love and care for her lying in bed, and the relationship between mother and daughter has improved in two.

What is alarming and worthy of further reflection is whether the improvement of the two generation relationship must be at the expense of one side's loss of self-care ability. How can a person's powerful ego give more space to others?

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