The new film "Hot Search" cooperates with Zhou Dongyu. What happened to them who were amazing?

Special feature of 1905 film network "It tells a story that is closely related to each of us."


Four years after its release, the new film Hot Search was officially announced. The starring lineup led by, is particularly eye-catching.

Different from the distinct types of criminal suspense in the previous two works, Hot Search, as its name implies, focuses on the online public opinion field in the media era.


The film tells the story of an explosive article from Chen Miao (Zhou Dongyu), the editor-in-chief of the media, which accidentally involved a case. Chen Miao’s partner He Yan (Song Yang ornaments), Group President Peng Yue (Justin ornaments) are involved in it one after another, and a just war with the network as the carrier is about to begin.


On the other hand, four years later, the director’s latest short film "Broken Heart of the Sun" also sparked heated discussion, and the highly stylized audio-visual language made fans see the persistence of the author and director again.

Everyone knows that it is difficult to shoot a debut, and it is equally difficult to maintain the standard. While waiting for "Hot Search", let’s take a look at what happened to the new directors whose debut was amazing in recent years.


01.After the stunning debut

1.7 million production fee, all-around actor, finished in 26 days.

8.7 points, box office 10.76 million, shortlisted for many newcomer awards.

These two sets of contrasting figures make Xin Yukun’s feature film debut a dark horse with the best color in that year.


Exquisite narrative structure and strong genre temperament make many big capitals and big IP take the initiative to come to your door, but Xin Yukun chose to return to his "initial heart" and put the story about his hometown that has been brewing on the big screen, which is his second work, Burst into Silence.


Compared with the "Caotai Team" of Labyrinth of the Heart, Burst Silent has a comprehensive advancement in terms of lineup, cost and production.

The investment is six to seven times that of the first novel; Starring Song Yang, and leading the professional big coffee; The addition of complex scenes and a large number of action dramas is an all-round upgrade.


Xin Yukun used "formality" to describe the creative process of "Burst into Silence". "From the beginning to the script, and then how to do it in the future, it is particularly formal step by step."


However, this big step upgrade is not reflected in the box office figures, and "Breaking Silent" only accounted for 54.26 million, which is lower than many people’s expectations.


Instead of clinging to narrative techniques, the film turns to more serious human nature and realistic issues, and Xin Yukun insists on his personal style, which makes this highly sought after work by fans somewhat high and low in front of the public.


Similar to Xin Yukun, from the first work to the second work, he tried to complete the advanced stage while continuing his personal style.


Both films focus on the squeeze of money and desire on China’s family. On the basis of several times the cost of the previous film, Wuhai has been significantly upgraded in terms of production and audio-visual, and the joining of and also makes the film more "star-like".


However, no matter from the box office and word of mouth, Wuhai lacks some of its original vigor. Douban scored 5.7 points, evaluating polarization, and the box office was only 15 million.


Bi Gan’s The Last Night of the Earth is more controversial. Back then, 26-year-old Bi Gan shot a stunning 42-minute magic long shot at a cost of several hundred thousand yuan, which made countless fans clap their hands.


By the second film "The Last Night of the Earth", the cost was once spread to 70 million, and the joining of,, and also made the film attract much attention since its official announcement.


No one expected that such a film with rich literary attributes would eventually be upstaged by fancy marketing.

Infinitely exaggerating the magical propaganda of the "love" element makes "The last night of the earthIt won 260 million box office on the first day of its release, and was besieged by "deceived" audiences. The cat’s eye movie score was only an astonishing 2.6 points.


Aside from the controversy outside the play, compared with the almost one-sided praise in The Roadside Picnic, under the more critical and rational gaze, Bi Gan’s persistence in long shots, self-repetition and narrative deficiencies have also caused more disputes.


If the above three new directors are mainly literary films, then Hehe can be called the leader among the new directors of commercial films.


Lu Yang’s directorial debut won the Golden Rooster Award, but after going to the cinema, it was mainly commercial action films.

From 93.2 million to 265 million and then to 1.035 billion, it completed a beautiful triple jump in terms of volume and box office. At the same time, the score dropped from 7.6 to 7.2 and 6.5, and the word-of-mouth became more and more controversial.

Muye Wen’s has created a "miracle of debut" with a box office of 3.1 billion and a douban score of 9.0.

Even the producer once jokingly said to Muye Wen: "(The first film achieved this result) You can only make a documentary next time!"

Four years later, although the second feature film still maintains a high standard and completion, it is difficult to reach the height of "Drug God" in terms of box office and word of mouth.

The above examples are enough to see that it is not easy to make a good debut, but it is even more difficult to keep amazing.


02.The Ease and Difficulty of "Part II"


"As I expected, the second film was more difficult to shoot." On the occasion of the release of "Burst into Silence", Xin Yukun once lamented.

"For a young creator, the biggest confusion comes from thinking about his own film view. Who am I shooting this movie for? Why should I shoot this movie? Should a director’s self-awareness be based on box office and word-of-mouth data, or in the trophy of the film festival? "

In the face of an influx of capital and resources, how to choose? In the face of larger volume and upgraded production, how to control it? This is also the myth that many new directors face after their debut success.

As early as the period of Heart Labyrinth, Xin Yukun once admitted in an interview that the most important thing for the new director is to "cultivate internal strength", and it is easy to "get out of control" by blindly investing in commercial production, so he insisted on doing something different in the "medium" volume first.

As for literature and business, he also made it clear that he did not simply define himself as a director of literary films or commercial films, but tried to find a delicate balance between typology and authorship, insisted on his own "Xin-style" suspense style, and kept concerned about reality and serious issues.



Zhou Ziyang also said that after "The Old Beast", there were a large number of commercial film projects to find him, but it was far from his own good and favorite style. "You have to stick to the direction you want to create, no matter what type of things you do, whether you are a pure person or a sincere person is very important."


Due to the lack of industrial shooting experience, The Last Night of the Earth has been facing various problems such as delay and cost overruns, and the final cost is several times the budget.

Bi Gan once admitted in an interview that the directors of literary films are also responsible for investors, but he thinks that this "responsibility" not only includes the return of box office, but also points to the feedback of quality and art.

While adapting and coordinating, he also insisted on his own shooting style. "Some people will say that so many stars always have something to cut after shooting for two or three months, but I have something I want to pursue."


The director who is familiar with the documentary once bluntly said that the second film is the time to really test the director’s initial heart. "In the first film, we are going to go up. When we really reach that point, the’ real person’ will come out and the director’s own state will be fully reflected."


Muye Wen often talks about his mentor’s words: "I will shoot the next film in the spirit of my debut all my life." This is also worth encouraging by young directors.

The first few films of the new director are always full of the process of trial and error. Failure and ups and downs are inevitable, but the only thing that can’t be lost is the initial heart of the "debut".