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“第六代”导演以其更加鲜明的个人化风格与关注当下的坚实态度,表现出中国电影强悍生动的另一面“第六代”,一个模糊而清晰的定位,这是对中国影坛新生代导演最省事的集体概述。不同于第五代的宏大叙事、形式至上,第六代以其更加鲜明的个人化风格与关注当下的坚实态度表现出中国电影强悍生动的另一面。贾樟柯凭借《三峡好人》擒获金狮、王全安以《图雅的婚事》摘走金熊,确实让人听到了第六代全面崛起的响亮号角。更重要的是,透过第六代非同寻常的电影轨迹,可以看到了中国电影的崭新未来。
“Sixth Generation”, with its more distinctive personal style and attention to the present solid attitude, shows the powerful and vivid sixth generation of Chinese film, a vague and clear positioning, Acting collectively the most provincial summary. Different from the grand narrative of the fifth generation, the form comes first. The sixth generation shows the powerful and vivid side of Chinese movies with its more distinctive personal style and attention to the moment’s solid attitude. Jia Zhangke captured the Golden Lion with the “Three Gorges Goodwill” and Wang Quan’an took the Golden Bear with “Tuya’s Marriage,” and indeed hears the loud horn that has given rise to the sixth generation in an all-round way. More importantly, through the sixth generation of extraordinary movie tracks, you can see the new future of Chinese movies.