In addition to the similarities in expression techniques, the two films that were shortlisted at the Montreal International Film Festival have many similarities in terms of character creation, role transformation, and ideological sublimation.
Whether it is Cheng Yong in《我不是药神》or wheat in《麦子的盖头》, they are all living in the market, running under the pressure of small people, with more or less personality, these imperfect human nature makes The absurd story presented by the black humor is becoming more and more real.
《我不是药神》At the beginning of the film, Cheng Yong is just a middle-aged man who is poor, greedy, and timid. Even at the beginning of the journey, when the patient with chronic granulosis was taking medicine from India, he only wanted to earn "money" to save his father. He could not afford to be called "medicine god."
The self-salvation and sublimation of this character took place under the impact of a series of miserable encounters. It is these heavy sorrows that "do not want to die but have to die, but want to live but can only commit suicide" stimulating Cheng Yong, and promoting the good side of others' sexuality to prevail, becoming the "light of redemption" for millions of patients.
Similarly, at the beginning of the《麦子的盖头》film, wheat was just a rural woman living in a remote mountain village influenced by backward culture. She entrusted her life with a "red hijab" and entrusted it to a man, and this is just the beginning of the film.Push the film story to a climax.
The absurdity of the whole incident is not that Ma Dogan has exchanged his wife as a “commodity” mortgage, nor is it that the miners are old and the people around them recognize this ridiculous transaction, but even the wheat itself recognizes that this “goods” are sold. Trading method!