Are literary and artistic films destined to miss out on high box office ...

Recently, all are arguing about the box office plight of literary films, online circulation of literary film box office list, the highest literary film "The Last Night on Earth" is only 200 million, the other more than ten million and below, it seems that literary films are doomed to have no relationship with the high box office. But in fact, everyone has overlooked one literary film, the movie "Nameless" directed by Cheng Er and starring #Wang Yibo. It took in 930 million at the box office in the Spring Festival.

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A lot of people didn't mention this movie, maybe the web chart was too long ago to be updated, or maybe it was incredibly high at the box office. In fact, Nameless does have the makings of a literary movie. Its narrative, non-linear, flashbacks are essentially the opposite of popular acceptance, and its subject matter, focusing on espionage during the war, is charmingly stylized and broken. Genre-wise it's no different from Lust, Caution. In fact, I would say that the success of "Nameless" provides a good reference for literary films.

With the increasing commercialization of films, how can more literary directors and authors be seen more often. Indeed, it is the norm for literary films to be low in the box office, and their narrative style and authorship dictate a narrow audience. As I've always said, we should not judge success or failure by box office, but at the same time, literary films also need box office and support, which is not contradictory, and this can only promote the virtuous circle of literary films and let them survive. For Nameless, its box office success is fortunate not only for the Spring Festival, not only for Cheng Er. It also relied heavily on Wang Yibo's participation, which contributed a lot of buzz and real box office results!

As I've always said, I've never denied idol actors, especially young actors who are willing to act in niche literary movies, helping some directors to better reach the public eye and let their aesthetic style be seen. This is something to be encouraged and respected. It can also be a win-win situation for both the actor and the movie. In Nameless, we see Wang Yibo's possibilities as an actor. He did not live up to the expectations of the audience, the performance is also very good, some emotional speculation and temperament and the movie complement each other. There is no sense of incompatibility. And because of the existence of Wang Yibo, but also let Cheng Er was more seen, not to box office like the "history of the demise of Romantic" as dismal.

In the present day, it's great to see idols and first-tier actors come to the aid of literary films, such as Hu Ge and Wu Lei's "No Falsehood", Wang Yibo's "Nameless", and Zhu Yilong's "Mistake by the River". And before Yao Chen's "send me to the green clouds", "umbilical cord", Hai Qing's "hidden in the dust and smoke" and so on, especially the young idol actors, not to be bound by the position, role or even pay, to help publicize the expansion of the influence of the very worthy of respect.

Although hindered by the volume of investment, type of subject matter or schedule, box office results may be different. But as long as they as actors do a good job as actors, interpretation of the role, it is very worthy of recognition. In the end, these movies may not be able to achieve the same magnificent results as "Nameless", but because of their presence and great influence, so that the movie box office is not dismal, so that the new director by more investors to pay attention to, get more opportunities. And that's a beautiful thing. This is also belongs to the warmth of the filmmakers. And who are those watching marketing numbers to dismiss them? =