The mother finds her relationship with each other in an imperfect manner-at the present time, she needs some care and kinship in “Guo Run”, which is a second feature of silence from Chinese writer Lee Dungi who determines wisely from the initial intelligence in the individual crisis. This type of drama of the brief room and the Meets is closely By Manxuan Li. This premiere in the Rotterdam Competition has sympathy and sympathy with the global, with Global Arthouse’s specifications if carefully sponsored through the festival circuit.
“Guo Ran” corresponds to the appearance of LI, which was presented in Venice for the year 2020 “Mama” as an emotional but emotional confrontation with the local tragedy-moreover, both films are rooted in the director’s personal experience. “Guo Ran” is scattered work, the most focused: Hander is very awe of a good part of its operation, in order for this number to be criticized, and other support systems are required. Its simplicity in the film is a pointed evocation – an emotional criticism, even – for a contemporary urban social model, as small, isolated and fragile units finally replaced a more stable societal framework. It sometimes requires a village to have a child, not to mention one education.
Such concerns weighing the Yu (Manxwan Lee), whose mother died at birth while delivering her younger sister, and who did not push motherhood herself. Now 36 years old, she seems to have a stable local preparation with her boyfriend (Yitong Wang) in a small but arranged apartment – if not now, then when? The current routine of the couple wants affection and excitement: scenes without words from Yu who were passed on her phone while her other half is pasted on the laptop says everything without dipping into the millennial clichies. These characters are not square sifters, but they do not seem to be active or urge each other in any way.
The child will bring a change, if there is nothing else, so Yu tends to her early pregnancy – the fetus, we were told at the beginning, it is the size of the wide beans – with the specified air of optimism that pushes its anxiety to the undeclared back. Qouh, her name is translated into the child, is translated as “as expected”, as if to calm down Ur doubts with absolute nominal inevitability. Few films have been conveyed to the relationship of pregnant women to the relationship of a pregnant woman with an increasingly changing body: she is still very sensitive but clearly sensitive to her surroundings in every turn, Mankswan carries herself with the invaluable nervous gravity.
However, due to changing and changing behavior, her partner grows only more remotely and stepped down, completely consumed with screen-based work requirements-responding to anguish to go to the bathroom one night, announces worrying bloody drainage. There are no tears and screaming matches to come: with rapid and calm blows of omission, Lee and Li and the Qin Yanan editor expressing the harsh negative disintegration of the relationship while Yu is in a state of physical disorders. It was left to the clinical hospital system by providing what it could provide, but it is up to me, her face is often constantly detained but broken, to treat herself from the inside out.
Li and DP DP Matthias Delvaux (“Leopard Snow”) is drawn counter to what is equivalent to the tones of blatant or saturated with the sun, whether on the walls that are not inherited in its apartment or the neutral comfort of the starchy hospital papers-the world-the introduction around it as an empty, empty caliph, empty But it is still open to re -invention. In the absence of the musical result, the design of Vincent Villa’s fragile villa either inflates or pours her mental condition as the circumstances dictate: in a heavy movie in the quiet and actual moments of the serenity few and far apart. But even with the spread of unit “Guo Run”, he never does despair: U, she has exhausted it, but quietly flexible, when the other allies fail.