Original title: The box office in the first 7 days of release was only 3.4 million, “One and Four” deserves more attention
On October 27, the debut film “One and Four” directed by Kumi Sariye was released in theaters. With its mature genre expression and solid script creation, the film has received widespread attention and praise on social media.It is hailed as a stunning work that “opens up new possibilities for Tibetan films”.
Kumi Seiretsu was born in 1997. “One and Four” is his first personal feature film and also his graduation work when he graduated from the Directing Department of Beijing Film Academy. Another identity of Kumi Seiretsu is that he is the son of the late film director Wanma Tseden. Regarding the “high starting point”, he said frankly that there is no pressure, “I pay more attention to what I have given and received, and just try my best to shoot.” “.
Image source: Official Weibo of the movie “One and Four”
The film is adapted from the short story of the same name by the Tibetan writer Jiang Yangcairang. It tells the story of how on the eve of a snowstorm, forest ranger Sangye’s hut was suddenly broken into by people one after another. Two of them claimed to be forest policemen, and one was an old bachelor whom he had known in the village for a long time. They all seem to be related to poaching incidents in the forest. Who is the forest police and who is the poacher? Sanjay needs to find the truth among the confusing clues.Some fans labeled the movie “Rashomon”, while some viewers called it “script-killing” because the mystery was not truly revealed until the end of the film.
The lens language of “One and Four” closely revolves around the reasoning events. It is neither fast nor slow, and there is no idle word in the whole film. During the nearly one and a half hours of narration, it is riveting and hearty. At the same time, compared with previous Tibetan films such as “Tarot”, “Balloon”, “Arajan Color” and “Soul on a Leather Rope”, “One and Four” has clearly jumped out of the category of discussing metaphysical topics in the category of literary and artistic films. The narrative path, with a more stylized and commercial expression technique, is close to the current audience’s viewing habits. People can’t help but sigh that Tibetan movies can be so eye-catching.
As a typical suspense film, the film chooses to tell the story from a restricted perspective rather than an omniscient perspective., the audience, like the protagonist Sanchi, can only outline the causes and consequences of the case from the few words of the intruder, and complete the “jigsaw puzzle” in their minds. At the beginning of the film, Sanjay slowly wakes up from drunkenness. As a forest ranger, he should not drink, but the sudden visit of villager Genbao seems to have another hidden agenda. The camera follows Sanjay’s line of sight and explains the environment and furnishings in the house. Empty wine bottles, patrol diaries, couple photos, scarves and other items may seem ordinary, but in fact, with the subsequent development, they all show that they can reverse the plot. important information. In this ranger’s hut, strangers visited one after another, telling stories over and over again about their experiences or made-up stories. In order to discern the truth, “honest man” Sanjay even joined the narration process, making the original brain-burning plot even more confusing. The film does not seem to be in a hurry to tell the audience who is the police and who is the gangster. In each review, it continues to enrich the characters and constantly upgrade the audience’s puzzle-solving fun and movie-watching experience.
Most of the story takes place in the cabin. Although the space is small, it is not monotonous. Several rapid knocks on the door, the approaching snowstorm, and the constant appearance of new faces all break the original smooth spatial relationship and make the space more interesting. The audience turned their attention to the vast forest and snowfield outside the house. Even the moment when the deer with its antlers cut off finally appeared in the door, it created an artistic conception of “silence is better than sound at this time”. In order to increase the audience’s immersive feeling, the film made extensive use of wide-angle lenses and hand-held lenses during filming, which highlighted the details of the characters’ facial expressions and movements, while also allowing everyone’s inner “Little Jiujiu” to naturally reveal themselves.
In order to create a cold and desolate temperament, the director said in the interview that he had referred to the movie “The Revenant”. The hard food, the cold water in the pot, the snow and fog on the windows, and the “frozen time” all make the cold clear and perceptible, hard to ignore, and also highlight the characters’ endurance in extreme environments. Strength and explosiveness.
The film is titled “One and Four”, but what do “one” and “four” mean in the end? Is it a ranger and four intruders, a game and four players, or a story and four This time, the film does not give clear information, and the answer to this question needs to be answered by the audience themselves.
As a debut film, Kumi Nariye has delivered a satisfactory answer, but it is undeniable that the film still has a lot of room for improvement in terms of plot setting, narrative rhythm and character depiction, which also makes people look forward to the director’s next works. . Nonetheless, for such a sincere work, “One and Four” deserves more attention and applause, and it also opens up new possibilities for Tibetan films.
Picture: Official Weibo of the movie “One and Four”, etc.