Directed by Li Yu, supervised by Fang Li, and starring Mary and Song Jia, the movie "Sunshine Robber" will be released in May 1st. The film is adapted from Japanese writer Kotaro Isaka’s novel Sunshine Robber, which tells the legendary adventure story of four strange young people who form a "robber" group and bravely break into gangs to seize tigers. Their encounters, personalities, small emotions and great changes have enough details to pave the way. Their life direction and fate sigh have detailed context evolution. Individual endowments, social pulse and vision of the times are closely linked, telling the audience a city story of love and healing.
Innovative imagination is the most prominent feature of film art. As director Li Yu said, "Fun and imagination are very important for movies, so I want to shoot a different one ‘ Fairy tale realism ’ 。” Movies should explore new themes, narrative structures, languages, styles, techniques and technologies to break the rigidity of the types and modes of commercial films. Among them, content innovation is the most fundamental innovation. An excellent film must first have substantial content and rich connotation, that is, profound literariness and humanism. For Li Yuhe Fang Li, the golden partner, The Robber in the Sunshine is a bold breakthrough in a new theme, which is more reflected in the projection and focus on the current society.
In the film, Mary plays the role of Sunshine, a person who is uninhibited and careless on the surface, but has a deep shadow and insecurity in his heart. Mary said in an interview that she had a lot of resonance when she played the role of Sunshine. In the film, Sunshine used the so-called strong appearance to hide her inner fear, which was very similar to her experience of bringing happiness to others at work and sometimes being unable to solve her own pain. And many of us are not another "Mary"? We can bear all the wind and rain in front of people, and the people behind us may collapse instantly because of a slight touch. How can there be a quiet time, but everyone insists on it all the way, for the ideal, for the family, for love, and for all the worthwhile existence. This is the ukiyo-e painting of contemporary people’s life. No matter what we will face, the eternal thing is to believe in truth, goodness and beauty and love.
Not every innovation will work, and some film innovations are difficult to be accepted by the audience because of the lack of vivid and profound characters, or the characterization is a low-level emotional consumption, which lacks the presentation of its spiritual realm. Fang Li’s earlier film "Birds at the Phoenix" jumped out of this creative pattern and successfully portrayed plump and vivid characters such as Jiao Sanye and Xiaotian Ming. Especially in Jiao Sanye, it reflects the persistence, farmers’ kindness, simplicity, shrewdness and limitations, and the dignity of being a teacher influenced by Confucian culture, all of which constitute a leading, distinctive and complex personality. The beauty of Fang Li’s latest producer, The Sunshine Robber, lies in putting the process of love and healing in the world on the screen through fairy-tale expression. In the movie, both Song Jia who lost his "daughter" and Mary, who is fond of heroic deeds, including villains, are people who need to be cured. Mary helped Song Jia find her daughter, and Song Jia also healed Mary’s unknown pain. Whether it was the "mother-daughter relationship" between Song Jia and the tiger Nana or the sisterhood between Mary and Song Jia, what really healed was the sincerity between each other.
"I want to hold you so that you won’t get hurt. I want to watch you grow up. I want to stay with you for you until I love you." This is the core meaning of the film throughout. When the little Nana gently touches Xiaoxue’s hand, the warm and harmonious picture of people and animals, we can hear each other’s heartbeat through the screen. The deep entrustment left by Cici, the tiger’s mother, at her last glance is the loss of her daughter Nana and the sustenance of her love. Little Nana has never lost her mother, and Cici’s love is perfectly continued in Xiaoxue. In this way, "Sunshine Robber" cured every audience.
At the end of the film, it is sunshine’s farewell to Xiaoxue and Nana. The sunshine sent their "mother and daughter" to the sun-shaped hot air balloon, and this short escape will soon come to an end. The sunshine can’t continue the fairy tale life with them, but the sun, which symbolizes the sunshine, will carry them to the distance. The companionship, care and preference in the whole movie are never like what the sun said: commitment is like debt, and it is all because of love. Freedom is the deepest yearning of sunshine, and loss will be her eternal gain. Dear friends, Xiaoxue, the sunshine says goodbye, so let’s start a romantic, warm, fantastic and humorous healing journey!
Formal innovation is usually the iconic feature of movies. The core significance of form for works lies in conveying content and spirit with various aesthetic carriers, so the pursuit of form should be meaningful and unified with content and spiritual connotation. "The Robber of the Sunshine" is by no means a typed story. In the handling of the screenwriter and director, the pattern is bigger and the social empathy is bigger.
The monologue in the film says, "Strange animals will be protected, but strange people will be excluded, but you should keep your strangeness, because strange people will always meet." In the film, Xiaoxue and Sunshine, Xiaoxue and Tiger Nana are harmonious but different from each other. The lies carried by Sunshine, Nana’s innocence, Xiaoxue’s dream, Liu’s magical infatuation, and Lin’s authentic reality … The screenwriter boldly uses color narration to tell the relationship between love and healing. Warm, cold and gray colors express three unique aesthetic and value demands. The villains represented by Liu Shenqi (Ceng Zhiwei) mostly use the cool colors of purple and dark red when they appear, which is in sharp contrast with the warm colors of yellow and pink presented by Sunshine and Xiaoxue. When it comes to everyone’s pain in the past, most of them use colors with extremely low saturation, such as gray and white, which are prominent in the distribution of screen colors and have a clear idea, making the whole story line more vivid, which is intended to tell the audience that there is no permanent gloom or permanent brilliance, and some.
With its unique artistic aesthetics, the film "Sunshine Robber" makes the film and television works full of vitality and more touching aesthetic charm. The narrative technique and creative style adopted in the work are integrated with the fairy tales told in the work, which makes the audience feel strong emotional resonance and get a relaxed and comfortable audio-visual experience. In the unique narrative, the film pays more attention to delicate, euphemistic, affectionate and touching emotional rendering, human nature analysis and revealing the unique character of the characters. The vivid details that can be seen everywhere in the play not only allow the audience to see people, but also make the characters affectionate. I can’t help but feel that the original movie can still be shot like this? In the film, whether it is the "mother-daughter relationship" between Xiaoxue and Tiger Nana, or the sisterhood between Sunshine and Xiaoxue in thelma and louise, it is creating a positive and loving atmosphere. Such a scene in the film makes people feel that Liu’s magical pink powder will make people forget the past, and Nana, who has no intention of inhaling it, is no exception. Just when the sun was alone in the transport vehicle facing Nana, who was already "strange", everyone thought that the jump was fatal, but it was Nana’s long-lost coquetry. The plot reversal tells the audience an interesting truth, that love is the antidote not to be lost in the dreamland.
Ba Jin once said: "Friendship in my past life is like a bright light, which shines through my soul and makes my existence a little bit glorious." In the film, Xiaoxue and the sunshine become the bright shadows in each other’s lives, one is the dreamy snow in winter, and the other is the hot light in summer. The interweaving between two people makes each other’s four seasons complete. This setting closely follows the present, stimulates empathy, and makes the public understand that even if life is indifferent and helpless, we must believe that there is always one person who can arouse all hopes and enthusiasm. "Sunshine Robber" tries to present and restore life truly and accurately by using the aesthetic way of film and television. Whether it’s a warm and happy pet-seeking office or a rippling sea, and the blue and breezy sky, and the playful pursuit of tiger Nana or even a leap at a critical juncture, it can be said that it has been carved with great care. In terms of artistic expression, this work’s creative attitude of pursuing quality products is also very worthy of recognition.
In the general trend of genre creation and industrial production, it is the best choice to keep personal expression. As Fang Li, the film producer, said, "We especially want to share a film that is full of sunshine, happiness, fantasy and adventure, and romance with all our audiences." Based on this, we saw more of ourselves in "Sunshine Robber", and also let us see the love and healing that everyone is eager for in the real world.
