English name: Lease Wife
Alias: renting a wife
Release date: 2006
Film Director: Lu Xuechang, Lu Xuechang
Film actor: Pan Yueming
Li Jiaxuan
Region: Mainland China
Language: Mandarin
◎ Jane
Guo Jiaju started a small company after graduating from college. Many debts are facing bankruptcy and girlfriends are running away. Jiaju's hometown is in a small mountain village in northern Fujian. His father was seriously ill and asked him to take his girlfriend home. The troubled Jiaju had no choice but to rent a "escort" lily and pretend to be his girlfriend as a teacher.
After all the bumps, they returned home. In order to celebrate his father's birthday, Ka Kui's mother asked Ka Kui and Lily to hold a wedding. After the wedding, Ka Kui's father can actually get up. Lily was walking outside the village and saw a crazy girl. The primary school teacher in the village is ill. Please call lily to help. Jia Ju's niece Vanilla likes Lily very much and wants to ask her to take herself to the city to find a job. But the pony stopped Lily from contacting Vanilla. Ka kui's father finally left. Vanilla goes home to play with Lily. Lily put on makeup and asked about the crazy girl. Vanilla told her that the crazy girl was in do miss. She made money to build a house for her family and married a daughter-in-law for her brother. But the family said that she was a prostitute in the city and the money was not clean, so she was not allowed to go home. Lily was greatly stimulated. When Ka Kui came back, she saw the vanilla powdered and cursed Lily. Lily was ashamed and resentful to the extreme, and she felt the contempt for her in Ka Kui's bones. Lily left the car alone and was stopped by the chasing pony. The two were seen by debt collectors who found their hometown. The debt collectors began to beat Jia Kui and threatened to kill Jia Kui. At the critical moment, Lily took out her bank card and saved Jia Kui.
A year later. Guo Jiaju has turned over. He has gradually remitted the100000 yuan owed to Lily to her card number, but still can't find Lily. One accidental day in the street, he and his pregnant lily appeared at the traffic lights. ...
The director elaborated:
For me, first of all, a movie should make people sit down and watch stories, which requires the movie itself to have touching emotional stories. Let itself has a touching emotional story as the main line, which can meet people's basic needs of watching movies and stories. Secondly, it has extremely rich ideological extension. This paper discusses the problem of opposition and integration between modern and traditional; At the same time, it tells a proposition about dignity; Moreover, in it, people's different views on morality are shelved; This is what attracts me most. This is a seemingly simple story, which is easy to be summarized in words, but it has rich extension.
The only film I made that was not shown in the cinema was "Very Summer" five years ago. In fact, at that time, it was the low-cost movie I wanted to see in the commercial cinema most, but unfortunately I didn't go to the cinema in the end. Lease Period is not very similar to Very Summer in style and form, but it is very similar in creative purpose and motivation, so it is very happy for us to be released in the fierce competition of cinemas. This is also a useful attempt for low-cost movies to enter theaters and markets. This is actually a big problem in China's films. Not all directors are willing to shoot large-scale commercial films and stories about ordinary people around them, but whether this low-cost film can enter the cinema has become a big problem. Therefore, "Lease Period" can be screened in the fierce competition of cinema lines, which has significance beyond the screening itself.
The size of the subject matter is not my choice criterion for filming. Some movies with big themes are small after you see them, while others with small themes are big. This is the wonderful thing about movies. I think what matters in a movie is not the size of the theme, but the ideas it reveals. The size of this mind silently affects the size of a movie, good or bad. For example, one day I want to shoot a so-called big theme, which seems not difficult, but if one day, I hope I have a bigger mind, which is beyond my will.
Everyone thinks my movie is slow. Actually, this is an illusion. Slow is mainly in the process of thinking. Like what kind of story are you going to shoot? How to shoot? This is the most time-consuming, because I don't want to spend so much energy to shoot a story that I can't convince myself. But when it comes to actual shooting, my speed is very fast. For example, "Growing Up and Carla are Dogs" only took 40 days, and "Very Summer" only took 30 days. The lease is shorter, only taking more than 20 days.
About movies:
Lv Xuechang is one of the leading figures of the sixth generation directors. His works include Growing Up, Very Summer and Kara is a Dog. Among them, Kara is a Dog was rated as the best Chinese film in 2004 by three places across the Taiwan Strait. It was also released in Japan in early 2005.
Mr. Lu Xuechang was praised by Zhang Yimou as a relatively solid director in the sixth generation, and his works are famous for their coldness and profound humanistic care. The fate of the weak is his focus. Speaking of "lease period", the road guide thinks: "The size of the subject matter is not my choice standard for making movies. Some big themes feel small after reading, and some small themes feel big after reading. This is the magic of movies. I think the movie is not about the size of the theme, but about the soul revealed by the movie. " Rent is not a small movie. "
As the first movie in China featuring the lady of the guesthouse, Mr. Lu Xuechang did not show debauchery, drunkenness and dreaminess, nor did he pursue the comedy effect of a pretty woman. After watching Lease Period, a critic wrote: "This is a cruel movie. Although it is full of touching warmth and beautiful rural scenery, you will be intimidated by the director's cold analysis of life. What is commendable is that Lu Xuechang abandoned the angle of moral criticism and silently watched and blessed life with a kind of compassionate lens language.