This article is from the public number:Gruner (ID: QiangGaooooo), author: modern machines, title figure from: vision China.


As a pessimist, “Gemini Killer” made me feel more strongly about the screen movie as a sunset industry, and there is no future.

Everyone is wondering how much 5G, VR, or 120 frames can change the shape of a movie. Li An also mentioned in the interview that he is already 60 years old and may not see the future of the movie, so he will shoot the future movie in advance for himself.

Anthony’s obsession with new technology is also his expression of the future of the movie.

(“Gemini Killer” Work Photo)

But the eternal model of capital operation is to move to the most profitable place: if the game can more exploit the expressive power of new technology to accelerate the reproduction of capital, then the film can only be used as a niche art. In the love of fans, you can’t get the favor of capital.

Even after Ang Lee himself appeared in the “Gemini Killer”, he felt that there might be no one to support him to continue to shoot. I would like to ask how many people around the world are qualified to challenge the “future” movie unscrupulously?

In fact, because the film’s revenue is not high, the digital transformation of theaters in North America is not thorough. This is also the United States as a movie power, and the number of screens, especially the number of digital screens, is far behind.One of the reasons for the country.


Any popular art (“VW Art” discussed here has blocked Brecht’s elite culture), either Novels, movies, and games are all inseparable from the construction of “illusion”, which allows viewers/players to immerse themselves in a perfect narrative world. It is both the most important task and the most profitable path. The problem of capital is transformed into the problem of art form.

When everyone is amazed at how Ang Lee’s new technology makes the movie look like a game’s cutscenes—especially the shots of a motorcycle shootout, like a super-shouldered racing game—the movie has Lost to the game.

The illusion of film construction relies on the stitching mechanism of continuous editing, the depth illusion created by the dark cinema and the big screen, the identity of the characters and the integrity of the narrative. These moves still work in the game. And the game has a talent that the film can’t match – to establish identity by physically manipulating the realism of the character.

When everyone is amazed at the new technology of Ang Lee that makes the movie look like a game’s cutscenes, the movie has lost to the game.

The movie is not without such an attempt. In 4D movies, the chair will squirt when it rains, and the chair will tremble when it hits the wall. These are novel experiences for the first time watching 4D movies, but slightly A few more times, you will find that these strange techniques are really annoying. Imagine if we were watching the final battle of “Reunification 4”, the smell of sand and dust in the movie hall, the constant tremor of the seat, and the small particles hitting the face from all sides would be more troublesome.

The so-called “illusion” is to let the audience accept that it is only a dream when they realize the truth.

For a novel reader, there is no need for a high-tech to reproduce the scenes he reads. Most people don’t need sound-sounding audio books. They don’t even need to read intense paragraphs. The music is loud. This shows that for the art of fiction, sound is a superfluous feeling, and headphones are a superfluous medium.

The rib of 4D movies is that it adds unnecessary viewing experience.

(“Avenger League 4” stills)

Also, the art of film may not require a high frame rate to bring the screen closer to reality. Although the high frame rate greatly increases the brightness of the screen, for most viewers, Dolby Atmos, 2K+3D It is already a top-level configuration for watching movies, and even for many people, it is very cool to use a projection to pirate Blu-ray at home.

The future of the film doesn’t necessarily come from a more advanced movie theater. The moment Netflix’s market value exceeds Disney’s, it seems that the movie will become more and more popular. The movie as a screen art is being more personal. The data-based small-screen online drama was defeated, and the cinema became more and more a social place for family outings and dating parties, rather than the main channel for the people to appreciate art.

But the game is different. To create an illusion, the modeling of the game characters is infinitely close to life, and the requirements for action coherence will be higher. It requires a wider color gamut, a clearer screen and a more powerful host and a better-feeling handle. When the player experiences a bullet rain, the vibration of the game handle is not upsetting, but rather more intense and dedicated.

The world-famous game “The Legend of Zelda: The Interest of the Wilderness” opens the world and returns to the design concept of free exploration.

If Li An shoots a trilogy of “Speed ​​Special Attack”, or completely re-enacts the fighting scene in “God of War 3” with a lens, the disadvantage of the movie relative to the game will be more obvious.

Li An’s delicate emotions require a deeper expression of identity. Imagine the passage in the basement. If we defeat the young Will Smith as a BOSS as a protagonist, the player needs to go over and over again. Familiar with the terrain, familiar with BOSS moves, looking for flaws, using assists, and finally defeating opponents. The role recognition generated in this process is effective and accurate, and as a result, the anger, frustration, cherish and sympathy that is screamed to the teammates by “not to shoot” can be better transmitted.


Speaking back to the movie itself, if the slow narrative of Li An’s first 120-frame movie is only a semi-finished product that the new technology is afraid to let go, then this type of attempt reveals the Structural contradictions between expensive new technology and Ang Lee’s narrative. Li An is bluntly afraid to shoot a thought-provoking sci-fi movie like “2001” or “Blade Runner”. After all, expensive investment means trying to please the majority, and discussing cloning ethics in science fiction films. I think it is a shortcut that does not require a worldview at all.

In addition, Ang Lee is not a director who likes to use multi-line narratives and play time to create suspense. “Gemini Killer” is not only stable in the play, but also in philosophy, the final effect can only be said to be lacking. Even though the scenes of the motorcycle fighting scene, the color of the framing and the photography of the night scene are all excellent, I still deny that the film will only have a unique charm under 120 frames. After all, the silver wings of the previous years. The Killer 2049 is also pleasing in the production of Hollywood’s best photography.