Kang Kang later told Du Xinghe and others about the current situation he learned in the past two years that in recent years, he almost had more than 50 films in the theaters. People no longer regarded movies as their personal ideals and artistic achievements as they used to treat movies as their practice. With the investment of many funds and venture capital companies, the word "recycling" has become the primary goal for many films and producers to think about it. ∷Kang was deeply touched by this, because his "100,000 Urgents" did not do very well in terms of investment recovery.

It is not a serious crime to make money when making movies. However, under the name of commercial films or genre films (genre~film), the quality of the film may not be able to be broken. Taiwan movies are gradually beginning to have such a trend, and there are more and more entertainment movies that claim to attract a large number of viewers. However, there are very few works that can take into account both box office and quality in the vast sea of ​​films, so there are still many works that are not commercial at all and not genre at all.

Zhu Yanping, who has supported the Taiwan commercial entertainment film for more than 30 years, also released "The House" in 2014, portraying the old-fashioned story of Xiao Jingteng, who is both warm and homeless, always waiting beside the beautiful girl Jiang Shuying, and finally touching true love.

Zhu Yanping also pieced together a lot of funny points in the anemia plot, some fresh and some old-fashioned, and almost cannot escape the traces of Zhu's works in his impression.

What's even more terrifying is Huang Chaoliang's "The Son of the Son Meets Love", which insists on "putting" both sides of the Taiwan Strait into the story, and writes a story about a young man who owes money to come to Taiwan and wants to sell his grandfather's land. Taking advantage of the plot of a group of difficult townsmen signing a consent form, a bunch of Taiwan local actors come in and play guest appearances; but the whole story is extremely wishful thinking, and they want to be funny and tear-jerking. They are not like each other and lack details, and the images and scripts are innovating. They are extremely embarrassing.

Cai Yuexun's "Pixie. Hero 2" continues the route of the previous episode, but it becomes even worse. The original conflict between the two extreme types of detectives, Pixie and Hero, was the biggest feature of the transition from TV series to movie series. With the change of actors and the change of scale, Cai Yuexun operated it into another pure action film type that attempted to compare with Hollywood specifications. Under the obsession with excessive intoxication with special effects and large-scale explosion scenes, the second part was getting worse and worse, and there was no action film that was left with the corresponding drama tension in the inner world; the worst thing is that many of its large-scale actions and visual effects scenes were not perfect, and even traces of rigid and artificiality could be seen. Cai Yuexun's courage is commendable, but in terms of movies, it is still a work that was obviously pale and missed.

Two movies fighting in the Lunar New Year holiday season have both chosen to follow the most popular Taiwanese-style local route in recent years. "Iron Lion Yu Linglong" is directed and acted by Peng Chacha. He obviously wants to copy the operation mode of "The Formation" with one line, one line, and the other line, the local skills and passion. Unfortunately, Peng Chacha is only able to be verbal and funny, and has no sense of movies, and the story itself has nothing to be seen. Relatively speaking, although Ye Tianlun's "Dadaocheng" is more impressive, he is still overly greedy and fantasizes about taking all the creative concepts and commercial elements at once. The main axis is

Traveling through time and space, through a famous painting, Yu Sheng and Zhu Geliang fell to Taibeicheng a hundred years ago, but they each had their own plans. Unfortunately, they were turning the fun of traveling through time and space. The story suddenly entered a serious proposition, Jiang Weishui's passion and the arrogant and domineering Japanese people. It turned the film into a serious historical film. Of course, Zhu Geliang doesn't have to make jokes, but after introducing historical themes, the audience will no longer only look at everything in the film in a comedy pattern. Between chatting and laughing and realistic discourse, even if the director has a strong sense of mission, he still has to face the dilemma that must be trapped in a dilemma.

Several art films have considered the audience's preferences, but they have failed to find a completely accurate operation method in the genre rules they should have. So they have troubles with difficulties. Although the box office results are the best, "Waiting for One Person Coffee", Jiang Jinlin, executive director of "Those Years, We Chasing Girls Together", from the original work, adaptation of the script to the production, the strong "nine knife" smell is everywhere. It is different from the purity of the single-line narrative of "Those Years, We Chasing Girls Together", although it is also about youth love songs, "Waiting for One" "Man Coffee" links three sets of love stories in different time and space, and the intention of taking all kinds of audiences in one breath is very obvious. Sometimes, kuso (swear words, the original meaning is hateful), sometimes literary youth, occasionally, and sometimes, there is nostalgic style of retro Taiwanese films. They often jump to another atmosphere before they can adapt to one, and therefore appear to be confused tone. Fortunately, the second half is back on track, as long as you believe that the power of true love is enough to move mountains and seas, the innocent and stupid view of love in Jiubadao's bones seems to be the most charming magical golden powder.

"Just One Minute" and "Reversal Victory" are two similar examples. "Just One Minute" takes the moving feelings between people and dogs as the selling point, interspersing the love exercises of strong women and weak men between Zhang Junning and He Rundong. Between working hard to get a career and returning to family life, women often fall into a dilemma. Unfortunately, the female director Chen Huiling only grasps the key points but does not shoot the thickness, making the conflict between the male and female protagonists become too superficial like playing house wine. The dog branch next to it is not enough to support strong emotional energy, so that the film becomes a bit like boiled water and will not be boring. , but it is indeed clear and light. "Reversal Win" is a seemingly neat and inspiring sports movie. "Mayday" member Wen Shangyi (Monster), who plays a desperate outdated billiard player. Originally, his life was only left with wine bottles. It was not until he took over the custody of his brother's old billiards shop and his daughter that he finally began to face life. The characters and plot settings are almost traceable. It seems that all the ups and downs have been buried, but it lacks the touching power. "Reversal Win" is of course not a bad movie, but it seems to follow the script without surprise. There are a little bit of a difference in each link, which is not enough.

In 2014, many new directors broke through the siege, some completed their first feature films, and some continued to create in difficult circumstances. The only three really exciting ones are probably "The Sonata of Return to Light", "Child Effect" and "Kano", and they just show the small, medium and large production scales.

If you don't particularly emphasize this is the first feature film by director Qian Xiang, at first glance, "The Sonata of Return" may guess that the director is a woman. This is a film with a few middle-aged women as the protagonists. Qian Xiang, who was transferred by a photographer, is not addicted to the beauty and exquisiteness of each shot. Instead, it is a bit like returning to and continuing the tradition of a new movie. Use time to exchange for emotions, starting from realism, embellish some magical power, and directly hit the heroine's subtle and complex inner world. It does not deny that this film reminds Cai Mingliang, but compared to Director Cai's current old monk entering a state of meditation, Qian Xiang is obviously relatively world-wide. Especially the expected traces of the ending processing. Chen Xiangqi almost holds up the emotions and rhythm of the whole film alone, with high difficulty and heavy weight, fully demonstrating her acting skills. The "Golden Horse" won the queen without any luck.

"Kano" produced by Wei Desheng and directed by Ma Zhixiang, describes the story of the first Japanese, Ben A. Koko-yuan final in 1931. It has the test of rebuilding the historical background, and it hides the most important things that all sports inspirational films should have, which shakes people's hearts. However, the hard work and introductory character portrayal of "Kano" seems to lack details. Just looking at Kondo Hitotaro's interpretation in the movie, we only know his obsession, and we don't know the real moving reason behind it. Narrative with a three-hour film length, after the passion, many things are actually not strong enough (including the special effects that many people have already pointed out).

"The Chilling Effect" challenges another unpleasant subject. The new college actor played by Guo Caijie was sexually abused by the music professor played by Dai Liren, causing a storm on and off campus. Wang Weimin is also one of the soldiers who followed Yang Dechang, and he mastered this subject that might fall into stereotypes very well. In particular, the second half focuses on the court dramas of complex and power relations between several women, at least maintaining the dramatic tensions that have risen. It has created a rare social realistic issue in Taiwan movies.

The other works of the new director are not mature enough. "Come on Boy" can be seen as an implantable marketing film made by the sugar factory, and there are also traces that can be influenced by "Cape Seven". Unfortunately, the musicality is insufficient and the inner conflicts of the characters are too far-fetched.

"So You Are Still Alive" talks about the dilemma between people and belief, and describes the story of a fake lama intervening in a couple of resentful families who lost their son and finally gaining redemption. The subject matter is very special, but the result is that the spiritual and emotional power of the film is very limited. Unfortunately, the hard performance of the two actors Lu Yijing and Huanghe.

Li Ding's "The Unreachable Place" films a motorcycle journey between two young people. Although he is not as unbearable as living in another world as in the previous work "The Voice Practice of Love", he is still full of sick-free emotional sadness.

As for "Waste" and "Porch Hot Spring". The former talks about the feelings of urban-rural gap, while the latter describes the journey of losing relatives and gradually healing the painful heart. Both of them speak out for Taiwan land with sincerity, but they are all because of the pressure of very little budget implementation, and only maintain the limitations of fundamentals.

"Violence of the Current" was a group of young filmmakers with an average age of less than 30 years old. It was based on the classic play "The ~crucible" of Arthur Miller, which made the text of this classic stage play intertwined with the adapted version on the modern campus. As a result, there was no need to compare the two, but instead they were pretentious and the actors' performance also showed an embarrassment of excessive stageization.

Another movie that was also trapped by the original stage script is adapted from Li Guoxiu's classic play "Love of Aurora". In response to the transition from stage illusion to the realistic nature of the movie, the script has not been adapted appropriately. When there is no real scene shooting in the Arctic, the pain of a broken heart only interprets the pain of being unpainable, the film is destined to be in a fate of failure.

In the field of documentary, in 2014, several documentaries "squeezed" into the theater system, but they no longer saw the turbulence of 2013. The only documentary released in large numbers is probably "Mazu Nai Taiwan" directed by Richie Richie. However, overall, this film only "followed" the religious fanaticism of Mazu's surrounding Taiwan. The depth and breadth are insufficient. It is not so much a documentary, but it is a big screen version of the popular "travel program" on Taiwan TV. Therefore, although the topic is not small, the box office and reputation are not ideal.

The other films are only very small-scale films mainly based on Taibei. "War Wine" uses the historical background of sorghum wine brewing in Kinmen to open the timeline, but it only achieves the flow and implantable marketing that is like praise, and it is difficult to discuss in the aesthetic category of documentaries.

Finally, there are probably two documentaries that have truly high-level performance: "Nest Builder" and "The Rest of Life: Seedk Barre". After the illusion of prosperity of "Twelve Nights" and "Seeing Taiwan" in 2013, Taiwan documentaries finally returned to normal and are no longer regarded as populist hot-selling products that can be operated at will.

"Nest Builder" is the winner of the million-dollar award at the 2013 Taiwan Film Festival. It was delayed for almost half a year before finally having the chance to be released. This documentary, which is less than 60 minutes long, uses a flexible and conscious lens to capture the indescribable tense relationship between autistic son and a single father who cares for him. Between close and cold-eyed by, Chen Keshang controls precise dispatch, allowing this cruelty and unbearable nakedness to be presented to you and me, but maintains the observation and dignity he deserves to be of the subject, and the power to shake people is extremely powerful.

"The Rest of Life - Seidek Bale" is like a complete addition to the feature film "Sidek Bale". It tells the past and present of the Seidek people, and even the Japanese's views have delicate statements. Coupled with beautiful and poetic photography, sound effects, and tilting the world, letting everything return to the real world beyond the turmoil.

Du Xinghe did not expect Kang Kang to have research on the Taiwan documentary market. Obviously, this elder brother, who is over 10 years old, really wants to make some achievements in the film field. Du Xinghe also really wants to help Brother Kang.

At the end of the day, Du Xinghe drank a little too much. He promised Brother Kang that if the company allowed him, he would be willing to be the male lead in Kang Kang's next movie to help Brother Kang become a hit in the future. He admires Brother Kang's talent very much. (To be continued, please search Piaotianwen, the novel is better, updated and faster!
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