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some things are very stereotyped, even stereotyped, but then again, these things have become classics, which is how many viewers felt when watching the thai movie "grandma's grandson". if all of the above statements are true, there may indeed be some "structural" content that makes empathy and sympathy so easy to occur. otherwise, douban would not have soared to 9.0 points.

"grandma's grandson" is very well done, with rich details and a good grasp of emotions. there is no need to elaborate on these things. in short, the screenwriter is capable, the director is highly skilled, and the actors are all online. the selfish son is always favored by his mother, and the daughter is always a daughter and will never come first. the old lady is terminally ill, but she is still unwilling to touch the money left for her grandson. this matter does not need to be exaggerated, it just shows part of life. of course, if you happen to be enthusiastic about psychology books and have read some stories of psychological counselors reviewing on the treatment chair, you will probably not be amazed: it turns out that the mother is also a victim of the same mental journey.

in terms of expression, "grandma's grandson" is very offensive. i have the urge to destroy it. for a moment, two movies popped into my mind. one is "away on a boat", a pearl of this year's spring festival, with a total box office of less than 1.58 million; the other one surprised me a little. it was not the gentle ozu or the sharp edward yang, but "the ballad of narayama" by shohei imamura, which won the palme d'or at cannes. both movies are a bit offensive and very cold.

when talking about love, people will say that only death can separate us; when talking about family affection, especially in the modern moment when people leave the land and drift away, death urges relatives to reunite. "away by boat" slightly offends the funeral culture, and the old lady sitting there dividing the inheritance among her children directly links to "grandma's grandson". this powerful link comes from the sinking of the same boat, sinking to the bottom of the water. before the romantic title and romantic ending of "away by boat", the wooden boat that the old lady used to get married sank to the bottom of the river. the amazing shot was: the bottom of the river was silent, with a group of sunken boats. you don't know who each boat has carried to marry here, but -

among them, there must be one that belongs to grandma.

the awakening of relatives is not actually the most touching process. in this kind of farewell to intergenerational relationships, there is always buried the awakening or lost process of an old man with more opportunities. the grandmother's fear and sadness in the face of death, her murmurs of wanting to be taken away, and her calm collapse when facing the same purpose of her grandson, "grandma's grandson" has already very concretely visualized this hidden psychological clue; in "leaving by boat", the old lady who clearly felt the death was organizing all her relatives. she used a word to describe the matter of sticking to the old house: accept it.

the old man has to go up the mountain at the age of 70, and finally becomes the prison of the old woman with healthy gums and straight teeth. living too long has become a burden. imamura shohei's alienated interpretation of intimate relationships is obviously completely different from that of ozu yasujiro. ozu is an absolutely calm bystander, while imamura shohei is offensive and challenging. if we go back to the "east asian context", the offense is indeed as valuable as the expected family awareness at the end. the funeral dialogue in "leaving by boat", the deep disappointment in "grandma's grandson", and the sharp performance in "the ballad of narayama" are necessary, otherwise you will "admit" many things. otherwise, many times it is not:

thousands of ships pass by the side of the sinking boat, and the thousands of ships continue to sink the boat. (jiang nannan)