侍神令 (2021) 电影评论

说到今年的春节档电影，《侍神令》绝对是我们全家最喜欢的一部。东方新奇幻风格的画面，又美又高级的视效制作，还有我们一家老小最喜欢的周迅和陈坤……集结了这些元素的《侍神令》，天生就自带吸引全年龄层路人的本钱。

事实上，也的确如此。《侍神令》刚上映第一天，票房就强势破亿，目前各平台出炉的口碑中，高涨之势有增无减。而细细地一条一条翻看评论，你会惊喜地发现——夸周迅的也太多了！

周迅在《侍神令》中饰演的是百旎，阴阳寮掌案，从小和晴明（陈坤饰）一起长大。她知道晴明是半妖半人，常常要和体内的妖力对抗以避免被妖皇蛊惑了心智，因此她将晴明收为了侍神，让晴明心有归处。

　　但因为反派的阴谋，晴明屡次被陷害。先是被陷害杀害阴阳寮大师兄，接着被陷害偷走了磷石，每条罪过都是不可宽恕的大罪，纵使百旎心里想相信晴明，身为阴阳寮掌案的百旎还是不得不与晴明刀剑相向。

周迅在阴阳寮当掌案时，她必须铁面无私，拥有身为掌案的果决和领导力。看着周迅身穿黑衣，跃上屋顶，一箭射向偷走磷石的人，那画面，怎一个帅字了得！

还有周迅走进了晴明设置的障眼阵法时，她执剑保持警惕状态，左右观察的眼神，又犀利又飒，真的杀到我了！

《侍神令》里，又美又仙的角色不是没有，但周迅没有选择去演这种美艳的角色，而是选择了出演重感情，又酷又帅的阴阳寮掌案百旎。最后周迅向观众交出来的答卷，也没有让人失望，反而让大家再一次感叹周迅的电影脸：真是自带大片质感，演什么是什么！完全不够看好伐！

　　这次看完《侍神令》回到家，我妈都跟我说，感觉周迅体内住着好多个小人儿，角色需要她展示哪一面的时候，对应的小人儿就会钻出来，让周迅或美丽，或灵气，或潇洒，或霸气……

大概也是周迅的百变特质，以及自带的高级质感，让许多片方、品牌、杂志都纷纷向她抛出橄榄枝吧。

　　找周迅演电影，你想要她演什么，她都能演，并且演完，观众还会觉得因为周迅，这部电影看起来好高级好贵。

找周迅代言品牌，哪怕是平价的产品被周迅拿在手里，咔嚓一下广告海报拍出来，任谁看了都顿时会觉得这产品的level都因为周迅升了咖。

回顾周迅出道以来的作品和表现，很多人越来越觉得周迅就是天生吃演艺圈这碗饭的人。塑造的人物角色永远不是单一的一种类型，拍摄的时尚大片也永远不会只有一种风格。在周迅身上，你能看到无限的可能性，哪怕现在她已经年龄40 ，我们都还能从她身上继续期待和挖掘出更多的惊喜。

　　啥也不说了，以后但凡有周迅的作品，看就完事了！2021年，周迅待播的作品：《第十一回》、《世间有她》、《诗眼倦天涯》、《涉过愤怒的海》、《功勋》，我已经准备好迎接你们的开播了！

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Kind of

Movies are orks of art in the form of a series of real-time images that are rotated to create the illusion of moving images & presented in entertainment. The illusion of a series of images produces continuous motion in the form of video. Movies are often called movies or movies. Movies are for business & entertainment
A modern pop art form created by purpose. Film production has no become a popular industry all over the orld, & movies are alays aiting for the cinema.

Movies are made in to main ays. The first is through film camera shooting & recording technology. This method is done by taking images or objects. The second uses traditional animation techniques. This method is completed by computer graphics animation or CGI technology. Both can also be combined ith
Combine other technologies & visual effects. Shooting usually takes a relatively long time. It also needs a orkbench, starting from the director, producer, editor, ardrobe, visual effects, etc.
Definition & definition of movie/movie

Players ho play roles in movies are called actors (men) or actresses (omen). There is also the term "actor", hich is used as an auxiliary role ith fe characters in the movie. This is different from the main actors ho play increasingly larger roles. Must require both actors & actor talents,
This must fit the theme of the movie he starred in. In some scenes, the role of the actor can be replaced by a stuntman or stuntman. The existence of stuntman is important to replace the difficult & extreme scenes that actors usually encounter in action & action movies.

Movies can also be used to convey certain information about the film producer. Some industries also use movies to convey & represent their symbols & culture. Filmmaking is also a form of human expression, thoughts, ideas, concepts, feelings & emotions that are visualized in movies. The movie itself is mainly
Novels, although some movies are based on true stories or true stories.

There are also documentaries ith original & real pictures, or biographical films that tell the stories of characters. There are many other popular types of movies, including action movies, horror movies, comedies, romantic movies, fantasy movies, thrillers, drama movies, science fiction movies, crime movies, documentaries, etc.

That is some information about the definition of film or film. This information comes from various sources & references. Hope it ill be useful.

In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, ho later ould be knon as Hannah Hoch as born. Being the eldest of five children, the girl as brought up in a comfortable & quiet environment of the small ton. Her parents, a supervisor in an insurance company & an amateur painter sent her to Girl’s High school. Hoever, at the age of 15 Hannah had to quit studying for the long six years to take care of her neborn sister. Only in 1912 she continued her education ith Harold Bengen in School of Applied Arts, mastering glass design. As the orld ar I broke up Hannah returned to the native ton to ork in the Red Cross.
The first years after ar the young oman recommenced her studying, getting to kno graphic arts. 1915 as highlighted by an acquaintance ith an Austrian artist Raoul Hausmann, hich gre into the long-lasting romantic relationship & involvement in Berlin Dada movement. For ten years till 1926 Hoch orked in Berlin’s major publisher of nespapers & magazines. Her task as to design embroidering, knitting & crocheting patterns for the booklets.
Being on vacation ith her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-&-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, & she created mass-media photographs comprising the elements of photomontage & h&ork patterns, thus combining traditional & modern culture. Her prior preoccupation as to represent the ‘ne oman’ of the eimar Republic ith ne social role & given freedoms.
Hoch as the only oman in Berlin Dada, ho took part in all kinds of events & exhibitions shocasing her socially critical orks of art. Till 1931 she participated in exhibitions but ith the rise of National Social regime as forbidden to present her creative ork. Till her last breath in 1978 Hannah Hoch lived & orked in the outskirts of Berlin-Heiligensee.
The piece of art hich is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology & females. In the middle of the picture one can clearly see a oman dressed in a modern bathing suit ith a light bulb on her head hich probably serves as a sun umbrella. In the background a large advertisement ith a oman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The oman is surrounded by the images of industrialization as tires, gears, signals & BM logos. A oman’s profile ith the cat eyes, untrusting & skeptical, in the upper right corner is eye-catching as ell. This unusually large eye symbolizes DADA movement — a monocle, hich is present in almost every Hoch’s ork. The colour scheme does not offer rich palette of tints, including mostly black, hite, orange & red pieces. The photo is surrounded by the BM circles hich add the spots of blue.
An apt description of the piece is given in the book ‘Cut ith the Kitchen Knife’ & states that it is ‘a portrait of a modern oman defined by signs of femininity, technology, media & advertising’ (Lavin). In other ords Hannah Hoch focused on the oman of the ne age, free & keeping up ith the fast-moving orld. The artist promoted feministic ideas & from her point of vie urbanization & modern technologies ere meant to give hope to oman to gain equality of genders. ith this photomontage she commented on ho the oman as expected to combine the role of a ife & mother ith the role of a orker in the industrialized orld. The light bulb instead of a face shos that omen ere perceived as unthinking machines hich do not question their position & can be turned on or off at any time at man’s ill. But at the same time they ere to remain attractive to satisfy men’s needs. The atch is vieed as the representation of ho quickly omen are to adapt to the changes.
In a nutshell, Hoch concentrated on to opposite visions of the modern oman: the one from the television screens — smoking, orking, earing sexy clothes, voting & the real one ho remained being a houseife.
The beautiful girl’ is an example of the art ithin the DADA movement. An artistic & literal current began in 1916 as the reaction to orld ar I & spread throughout Northern America & Europe. Every single convention as challenged & bourgeois society as sc&alized. The Dadaists stated that over-valuing conformity, classism & nationalism among modern cultures led to horrors of the orld ar I. In other ords, they rejected logic & reason & turned to irrationality, chaos & nonsense. The first DADA international Fair as organized in Berlin in 1920 exposing a shocking discontentment ith military & German nationalism (Dada. A five minute history).
Hannah Hoch as introduced to the orld of DADA by Raoul Hausman ho together ith Kurt Schitters, Piet Mondrian & Hans Richter as one of the influential artists in the movement. Hoch became the only German oman ho referred to DADA. She managed to follo the general Dadaist aesthetic, but at the same time she surely & steadily incorporated a feminist philosophy. Her aim as to submit female equality ithin the canvass of other DADA’s conceptions.
Though Hannah Hoch officially as a member of the movement, she never became the true one, because men sa her only as ‘a charming & gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only oman in their community in the folloing ords: ‘the girl ho produced s&iches, beer & coffee on a limited budget’ forgetting that she as among the fe members ith stable income.
In spite of the gender oppressions, Hannah’s desire to convey her idea as never eakened. Difficulties only strengthened her & made her an outst&ing artist. A note ith these return ords as found among her possessions: ‘None of these men ere satisfied ith just an ordinary oman. But neither ere they included to ab&on the (conventional) male/masculine morality toard the oman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘Ne oman’ & her groundbreaking ill to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt ne