Xiaodouzi and I went to see Wandering Earth. He thinks it's very good. I can't see it clearly. Apart from the Chinese and Japanese words "Yimasi", he can't understand or read the subtitles clearly, which means that myopia is not suitable for watching movies.
Xiaodouzi said that although the film finally avoided the fragmentation of the earth, the earth still had to wander far away. In terms of the whole wandering process, this contact with Jupiter is only a small step and has no decisive impact on the whole wandering process. At the end of the movie, it doesn't give people a sense of relief, but it makes people feel powerless.
I said, this is to die.
Traditional Chinese artists have a noble character and do not want to be burdened by the secular world. While Chinese art has Taoist tradition, the taste of metaphysics is stronger. Taoism is fearless of life and death, and Chuang Tzu's drumming and singing is a vivid example. Because of the influence of Taoism, there is always a detached attitude in Chinese works, and it is also very common to talk about death.
The life of the past has died, and I am happy about this death, because I know that it has survived. The life of death has decayed, and I am happy with this decay, because I know it is not empty.
Death is no exception. It is our real hometown, while life is just a parasitic inn. From birth, we are heading back to the nihility and silence, where there is neither this shore nor the other, and it is the abyss of eternal forgetting.
If history looks at death, it can save some pain. The death in literature and art is not necessarily biological, but a kind of suffering, a kind of helpless suffering. There is no way to solve the small human. Can not resolve, can only go beyond, standing in the distance, standing high, standing in pain, follow him.
Liu Peiqiang, as an individual, made sacrifices, but Liu Qi is still alive.