Giving fate back to time and land – after watching the movie “Hidden in the Dust”

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The film tells the story of two lonely individuals abandoned by their respective families in the northwest countryside, who support each other in day-to-day cultivation. Wu Renlin and Haiqing show a pair of low-level peasant couples from unfamiliar to familiar, from acquaintance to mutual support. Mind journey.

Author’s statement

I always think that my job is to distill movies in my daily life, and then restore my daily work in the movies. The process of writing screenplays and filming is the process of discovering, presenting and summarizing life, how to perceive and capture the subtle poetic moments in everyday life and make them eternal. In February 2020, I accompanied Mr. Haiqing to work in the field with the leading actor of the movie to experience life. I revised the script on the tree stump beside the ridge, and saw Mr. Haiqing resting on the ridge in front of me and the sowing seeds in the distance. The seed farmer instantly gave me a new understanding and understanding of movies and seeds. The farmers are sowing the seeds into the fields and harvesting the grains with the full companionship day after day, and every word in the movie script is like the seeds that the farmers sowed into the fields, and they finally bear fruit on the camera. Below are some poetic moments that I have shared with you at different stages.

Liu Yun stepped on the top of the wall, hid in the folds of the doors and windows, and listened to the news of the wind.

Ma has iron’s personal charm

Like most rural people in remote areas, Ma Youtie is honest, dull, honest, ignored and marginalized, but he has a strong vitality. As long as there is hope in his life, he can blossom in the barren land.

In the movie, within a year, he raised a nest of chickens of his own with his own hands, borrowed eggs, and raised a piglet, harvested his own food, and built his own house. There was a smile on his face, and he even looked forward to buying a TV for his wife next year.

All this is because of Guiying.

This woman, who was thrown away by others as a burden, gave him hope, opened a crack in his heavy and gloomy life, let in a little light, gave strength to his rough big hands, and made him wrinkled. The face softens.

His noble soul was also able to bloom in this rough yellow earth.

He saw hope, got hope, and vigorous vitality burst out from every fold of his body. Borrow a few eggs to raise new life, print a flower on a woman’s hand, say the most beautiful and simple love words, make hundreds of adobes a day without feeling hard…

He is still being drawn, driven, ridiculed, and oppressed, but he doesn’t care, there is hope in his heart, and the small sufferings of life become insignificant, and the wrinkles on his face will stretch out unconsciously.

However, in the end, Guiying died and his hopes were dashed.

His life seems to be a new beginning, but in fact there is no going back. He ate an egg, because when Gui Ying went to him, he took an egg. When Gui Ying was sick, he also boiled an egg for her. It was the egg laid by the chickens they raised together, and it was their own. Hard work.

He paid all his debts, thought about it a hundred times, and let life come like dust and go like smoke.

Clean, pure, noble, heavy, but silent, coming and going without a shadow, hidden in the world, leaving nothing behind.

Bleak and cruel undertones

From a lyrical standpoint alone, the film is shrewd and effective. The whole film shows rural life in detail, but it can firmly anchor the core image of “earth” (the cultivated land and the mud of the building), thicken the emotions, give shape to the fetters, and keep the shape and spirit intact: The fate of the poor is to take root in the land, despite the wind and rain, and still grow their own wheat flowers in silence and forbearance. But from the perspective of a Chinese audience who understands the context of the film, how many structural ailments have been hastily overlooked behind this romanticized approach of submissiveness? There are so many worthy and desperate stories in this land that they should never be buried in the dust.

Ma Youtie and Cao Guiying were humble and silent all their lives, struggling to survive in the crevices of the soil like ants. Facing fate, they had no choice, no right to speak, and even no chance to have an equal dialogue with others. Such a shallow irrigation canal, so many people watched, Guiying fell, but no one was willing to lend a helping hand.

The capitalists survive by sucking the blood of the poor, and the hard-working and capable marginal people lose their voices, lose their lives, and try their best, but they can’t even hold on to any hope or leave any traces. Two lives are not as good as a speck of dust in the world. .

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