悲剧的力量不是让观者感受人物命运的悲惨,而是从悲惨命运背后看到抗争的力量;那么,在娱乐至斯的当今社会,中国电影更需要这种力量给予观众更多的思考空间。顾长卫的电影反映的是特定时间、特定背景下小人物的生存状态,在这种状态下,小人物想要突破自我,却被裹挟在时代洪流之下,而造就了悲剧的一生。悲剧俨然成为顾长卫导演电影作品的重要标志。作为第五代导演的顾长卫,相继拍摄了《孔雀》《立春》《最爱》三部作品。这三部作品,从内容上 The power of tragedy is not to let the viewer feel the tragedy of the character’s destiny, but to see the power of resistance behind the tragic destiny; then, in the current society of entertainment, the Chinese film needs more power to give the audience more space for thinking. Gu Changwei’s movie reflects the living conditions of the minor at a specific time and in a specific context. In this state, the minor want to break through himself, but are trapped under the torrent of the times to create a tragedy. The tragedy has become an important symbol of Gu Changwei’s directing film works. As the fifth-generation director Gu Wei, have shot “Peacock” “Li Chun” “favorite” three works. These three works, from the content