刚刚说完我们不是电影号， 看完毕赣导演的新片《狂野时代》，忍不住，又来了。 毕竟，易烊千玺太惨了，这部迷影电影里，小伙子做了六次梦，一次 比一次死得惨。 当了怪物，革了命，被叫小狗日的，做过投机者，然后死在千禧年到来时分，吸血鬼的利牙之下。 电影两小时，人间过百年。 我们以前总是说，电影是疲惫生活里的英雄梦想，毕赣是给自己的电影生涯做了一场完整的理想之梦。 从《路边野餐》《地球最后的夜晚》，到现在的 《狂野时代》，泥泞中的人生如同小城里的雨雪俱下，每一分钟都举步维艰。 显然，《狂野时代》有门槛。 从世界上第一部电影《水浇园丁》，以及1905年的《月球旅行记》的致敬，到后面血色少年在千禧年的长镜头。 这是毕赣 写给自己和电影的一封情信，也像是一封美丽的遗书。 但电影里那些狂野的小城没有门槛，导演毕赣这次从自己的家乡凯里走了出来，但依然聚焦在西南，各种独特的小城镇里。 四川内江、重庆的江津，以及，丰都。 几个故事当中，我最意犹未尽的，就是在丰都悟惑寺拍的"苦妖"。 还俗的小和尚，帮一群盗匪偷运破败寺庙里的佛像，最后被安排独自留守在大雪中的 寺庙里，风雪很大，夜晚很长。 这一个关于味觉的故事，看起来游走于神怪之间， ...

Core Viewpoint - The current state of the art film industry in China is facing significant challenges, with controversies surrounding directors and production companies highlighting a broader decline in audience trust and interest in art films [1][3][5]. Group 1: Industry Challenges - The recent controversy involving director Lou Ye and the production company Fulei Moshih has exposed the fragile reputation of the art film sector, indicating a lack of public confidence in the industry [1][3]. - Art films are struggling to attract audiences, with the market experiencing a "cold winter," as evidenced by the failure of many anticipated projects to materialize [5][19]. - The financial viability of art films is in question, as even high-profile projects with star actors have not achieved profitability, leading to a reevaluation of investment strategies [6][9][11]. Group 2: Financial Dynamics - Art films typically operate under two business models: strict cost control to achieve profitability through film festival awards and limited box office returns, or high-budget productions relying on star power to attract audiences [6][9]. - The investment in art films often does not yield returns, with examples of films directed by Lou Ye failing to break even despite significant investments [11][13]. - The involvement of production companies with questionable financial backgrounds raises concerns about the sustainability of funding for art films [11][13]. Group 3: Creative and Structural Issues - The director-centric model prevalent in the Chinese film industry limits accountability and can lead to excessive spending and project delays, further complicating the financial landscape for art films [14][16]. - The lack of a robust production system akin to Hollywood's makes it difficult for art films to achieve consistent quality and profitability, as directors often prioritize personal artistic expression over commercial viability [14][16]. - The current trend in art film production is criticized for lacking innovation, with many new directors producing derivative works that fail to resonate with audiences [25].

Core Insights - The film "Wild Times," directed by Chinese filmmaker Bi Gan, received the Special Prize in the main competition at the 78th Cannes Film Festival, generating significant excitement among art film enthusiasts globally [1][12] - "Wild Times" is described as a meta-film that pays homage to over a century of film history, showcasing Bi Gan's ambition and love for cinema [2][12] - The film is structured into six chapters, each reflecting different cinematic styles and eras, from silent films to contemporary narratives, creating a rich tapestry of visual storytelling [3][5][14] Group 1: Film Structure and Themes - The film opens with a silent film chapter, introducing a world where humanity has lost the ability to dream, with the character "Dreamer" being the only one still captivated by illusions [3][13] - Each chapter corresponds to a sensory experience, focusing on visual, auditory, taste, smell, and touch, culminating in a complex narrative that explores the evolution of cinema [5][14] - The narrative progresses through various cinematic styles, including film noir and Eastern philosophical themes, reflecting on the past and the nature of memory [4][6][8] Group 2: Critical Reception and Artistic Expression - "Wild Times" has received polarized reviews, with some praising its visual aesthetics and others questioning its narrative structure and symbolism [16][18] - The film's unique approach to storytelling and its dreamlike quality have been highlighted as significant contributions to contemporary cinema, positioning Bi Gan as a leading innovator in film language [16][19] - Critics have noted the film's ability to evoke deep emotional responses while simultaneously challenging viewers to engage with its complex themes [17][18]