Has the film and television work Big Fish and Begonia been overvalued?

I don't think it's too derogatory, because Big Fish and Begonia does live up to the audience's expectations of it, the plot is protracted and unorganized, and the picture is not as beautiful as previously advertised.

Yes, it must have been degraded, everyone's worldview of the problem is different, and the film and television work "Big Fish and Begonia" has very little foreshadowing about the relationship between the protagonists, which makes people feel very nonsensical.

Big Fish and Begonia First of all, in terms of creation, I think it's a bit of a problem with the three views, but in addition to this main line problem, the other picture quality, which can be called the best in China at that time, has indeed been devalued a little too much, and everyone should look at Chinese animation with an increased tolerant attitude.

I don't think so, I personally think that this work is actually of little value, and the plot setting is not very good, there are many unreasonable places, and the actors' acting skills are not good.

Everyone has their own preferences about whether it is too depreciative, and the evaluation of a film must be diverse, don't just see that you agree with your own opinion and feel reasonable and objective, and if you are inconsistent, you think it is too extreme. There are many people who support or belittle Big Fish, and many of my professional classmates also think Big Fish is good.

I think so, because this cartoon is a relatively good domestic cartoon recently, which makes people see the hope of domestic animation, and the plot is also set very touching, it is a very good work, and it is not as unbearable as some people say.

As a domestic anime, "Big Fish and Begonia" is indeed beautifully filmed, can even be said to be pleasing to the eye, beautiful, and indeed an ambitious work, but unfortunately, the strength and talent of the choreographer and director are not enough to support this ambition, making this film like a gorgeous robe crawling with lice. And when you hang the audience's appetite too high, what comes up is a plate of dishes, and it is strange that you don't like to eat it, and you don't get scolded.

This is indeed a movie with a big brain, So those who watch the movie also have a lot of brains to understand this movie, the movie starts from a world that we think is a god, Tsubaki came from her world to the human race, and the people told her not to get entangled with humans, because it is terrible not to know, but when Tsubaki was saving Kun, grandpa did not object, it may be that they have seen this kind of thing relatively large, so they will help Tsubaki, and the spirit woman and the rat woman may be what they have seen. Most people can see that the spirit woman and the rat woman have one leg, the spirit woman raises the cat and the mouse woman, and they are jointly in charge of the soul of the deceased. The Rat Woman left the Nether with a human token.

Lingpo can play mahjong and knows that Tsubaki's token does not belong to this world. And the rat woman can dance and has a gramophone in the world.

The director of this film is holding back his strength to make "Big Fish and Begonia" an epic, trying to use Zhuangzi's "Getaway" to structure a grand world, but looking at it throughout, except for the big fish and those names, I can't see that there is any bird relationship with "Getaway", it is a love triangle love story, and the second male is a spare tire, the male one turned out to be a dolphin, except for the beginning and end of the film, it is really a dolphin, think about that Huan is really hard enough, it is actually a spare tire for a dolphin. In fact, if the name of this drama is "Dolphin Bay Lovers", I think it would be more suitable, and everyone would not have such high expectations. I think, if Zhuangzi is angry and asks him to comment on this **, he will definitely say this:

And the accumulation of water is not thick, so its negative boat is also weak. Cover the cup of water on the top of the hall, then the mustard is the boat. Put the cup and glue, the water is shallow and the boat is big.

If the accumulation of wind is not thick, then its negative wings are also weak. ”

It is more obvious that he asked Tsubaki if there will be a god on the top of the building, just like people don't know the existence of other people, and there is also the second to the explosion, "Whose love do you think you get, the love of a god!" And Tsubaki just wanted to repay her kindness and hurt the clansmen step by step, of course, she didn't know what would happen later when she exchanged half of her life. The so-called bad omen may be his mood swings, as if someone above said that the rain turned salty because he found Kun, and he shouted angrily after the flood broke out.

There are also those who say that Tsubaki green tea has always been involved voluntarily by herself, so good, how can a 16-year-old little girl know how much spicy!! Can Mary Sue blame the heroine? She didn't know that the village would be flooded later!

She knew that she had caused a big disaster, at least someone else had to remedy it!! Did those followers apologize for spraying wrong?

The characteristics of Chinese style are very good.,The painting style is very beautiful.,This can be regarded as a breakthrough point in Guoman.,But the plot is a little bit so.,It's not good.。

I like it very much, and the story is very touching. I like to see the rainbow in the sky after the raccoon yarn. There is also the feeling of Tsubaki going to the world, and the protection of Tsubaki and Tsubaki and the mother's advice to Tsubaki.

It's very good, in recent years, Guoman has raised its head, and the reputation is very good, and the songs in the big fish are very good, I like it very much.

It's good Big Fish and Begonia, for me, it's not the end, it's the beginning. It is as if a flood of power has awakened the inner self who once closed his feelings in order to survive. Life is a journey.

We went through several reincarnations to get to this journey. And this journey is very short, so you might as well be bold, you might as well be bold to love someone, to climb a mountain, to chase a dream.

The art style is good, but the storyline needs to be scrutinized, and it feels a bit deliberate.

It's really worth watching, I've watched it twice and I've cried both times, it's very touching, and the painting style is also beautiful.

It's very good-looking, that is, the heroine's mind can't see through it.

I felt that the content was very good, very touching, I cried, and the art style was also very good.

Very nice to look at, worth looking at in every way.

It's good, I feel like it says a lot of truth.

It's good-looking, and now Guoman is getting better and better.

I especially like it, the sentence in it, whose love do you think this is? Is it the love of the gods or what?

The film was hacked only because it was missing a finishing touch.

It was night, starry, Tsubaki and Kun lying on the lawn, looking up at the starry sky, all the silence, only the heartbeat of each other in the ears, the nose was full of each other's breath, suddenly, the two turned their heads to look at each other as if they had a heart, their eyes met, their hearts were like a deer, the two of them were red-faced, and they turned their heads away. Silent for a while, but not bored at all, the breeze was warm, the night breeze gently caressed his cheeks, and his heart was full of joy and peace, and he only hoped to stay like this forever. After a while, Kun seemed to have made up some kind of determination, and said categorically but affectionately:

Tsubaki, you treat me as well as your sister treats me.

My classmate went to see it and said don't go to see it, it's not good-looking.

A feeling that "if the accumulation of water is not thick, then its burden is not weak."

Cliché and mediocre stories, pale and flat characters, scattered and unreasonable plots, and childish and sensational dialogues can't support grand ** and scenes at all. It's like watching a scene MV, in which several meaningless black pauses expose the director's inability to grasp the transition of time and space, and a large number of narration lyricism makes people feel that the main creator can't let the characters express and develop themselves. The emotions and behaviors of the characters roared like that disaster, there were no details to take care of the foreshadowing, and after watching the movie, I didn't understand what the characters of the three characters were like, and they acted completely on their own likes and dislikes, and acted on an impulse, regardless of the consequences, and did not think.

We will be deeply impressed by every character of Hayao Miyazaki, the rebellious freedom of Porco Rosso, the contradiction and self-loss of Xiaobai, and the enemy of mankind. Even Mei in My Neighbor Totoro has an innocence and eccentricity as a child. But in addition to their own personality traits, these characters are also inseparable from the background world of the story.

But the three protagonists in Big Fish are always outside the world they belong to, and this "worldview" is just a fantasy backdrop created for this love triangle, which can be destroyed or reborn at will. The background of the story is an important condition for shaping the characters, and it influences and creates each other with the characters' personalities, but in Big Fish and Begonia, the separation between the characters and the background world can only pale the characters and empty the world.

The more important feeling is that I don't see its spiritual core in this animation. The use of Chinese elements is reduced to decoration and emotional expression in the film. The gods in the Classic of Mountains and Seas and the Kunpeng in the Getaway have all been reduced to supporting roles of "I love you, I will die for you".

It's like a gorgeous and fresh meal, but the main course is a rotten leaf, which is really disappointing. The main creators didn't think about what they wanted to convey, and spent huge manpower, material and financial resources, only to get a movie with a gorgeous appearance and an empty inside.

Personally, I really want to see the progress of domestic animation, and I can see that I have really worked hard in the production, art and ** of this movie, but this is not a reason. Without stories, reflections, and insights, these efforts would be futile. I hope that the next work of the creators is a good movie in the true sense, not only in terms of art, but also in the skills of expression and the depth of the theme.

Thinking of Goro Miyazaki's work "The Battle of the Earth and the Sea", I finally understood why the old man Hayao Miyazaki was picky and dissatisfied with his son, the more he loved, the more he needed to keep carrying his own works forward. After producing "Jihai", which caused huge criticism, Goro Miyazaki successively produced "The Blooming Hillside of the Poppy" and "The Thief's Daughter" on TV. Although it cannot be compared to his father Miyazaki, he can also see progress.

Blind black and pink are not good things for domestic animation, and there is really no need to talk about patriotism and feelings. Everything is based on the quality of the work, and a fair evaluation may be the most needed for domestic animation.

I think what the author is trying to express is love. The love of parents for their children, the love of Tsubaki, the love of grandpa for Tsubaki, the love of grandpa and grandma, and the love of Tsubaki for Kun. Other loves are fine, and Tsubaki's love for Kun itself is not a problem, but it is based on being the enemy of the world.

Originally, this idea was also very good, and I did not hesitate to be the enemy of the world for the sake of love. However, the rest of the world is right, but they have to bear the punishment they don't deserve. So, is this love too selfish?

Is it obvious that you have fallen into the inferior class again? This may be the reason why many people are disappointed.

In addition, I think the setting of this movie is very good, and for the setting of the world, you have to pay the price of responding to what you want. There is also a strong Chinese-style painting style. I can only say that it's a pity.

Big Fish Begonia" is an animated film produced by the other side of the sky (Beijing) Culture, and it is the company's first animated film work. The idea of the film comes from "Zhuangzi Wandering" in "There is a fish in the North Underworld, its name is Kun, and the Kun is so big that I don't know how many thousands of miles it is." ”。

Synopsis of Big Fish and Begonia:

The story takes place on a quiet night, in an area on the southern border of Xiqixin, a round tulou ushered in a rainy night. A young woman dressed in traditional costume rushed out of the building with an umbrella and placed a pot of flowers on the covered bridge before continuing on her way. The white-haired boy sat at the window and feasted, and when he saw the girl running closer and closer, he deliberately touched a flower pot to cover it.

The flower pot shattered in the girl's back, and she only stopped to look, ignoring the boy's accosting, and continued to run forward. The boy was curious, so he also wore a mausoleum and a hat and followed him. Soon the girl came to the top of the mountain surrounded by a sea of clouds, and after a few bells, a mysterious lonely boat sailed on the other side of the sea of clouds.

The girl got on the boat and sailed off to ...... far away

The film won the Best Technology Award at the 14th Seoul International Animation Festival in South Korea.

"Big Fish and Begonia" is actually a story about love, Tsubaki's love for Kun, Tsubaki's love for Tsubaki, Grandpa's love for Tsubaki and the love between the clansmen, the whole movie is this theme from beginning to end.

Kun lost his life in order to save her, leaving his little sister crying alone on the shore, and Tsubaki found Lingpo after ending her travels in the world, she used half of her life to save Kun, and in order to save him, Tsubaki did not hesitate to be the enemy of the whole clan, and was not afraid of natural and man-made disasters, this is the greatness of love, she seems to be weak, but in fact she is strong and brave.

Love sometimes seems to be very weak, but once it is defended by the brave, she can resist any wind and rain in the world, whether the wind and rain come from society or nature, just like Tsubaki fought against the whole clan alone in order to protect Kun, and later dismantled against the whole nature, this determination to defend love is moving.

In fact, Tsubaki has been far from her original intention from the choice to the final result, she has not thought of sacrificing her grandfather, she has not thought of hurting all the villagers, and she has never thought that she will sacrifice for herself, and in the end she did not expect that she would become a mortal because of her choice.