中产性喜剧《情圣》的逆袭与引起的争议,让我们觉得有必要做一期关于“中产阶级电影”的专题。大陆中产电影,是近二十年的事情,再往前追溯,则要到民国了。目前的大陆中产电影,不仅数量不多,且内容类型单一,不出婚姻出轨范畴,缺乏超越道德的探索勇气,且越来越缺乏共识。但在欧美,中产电影在电影工业中占比大,精品多,类型多样,尽管导演们的态度立场不尽相同,但其实都依托于一个相对稳定的价值观。本期专题,我们有对《情圣》及其社会反响的剖析,也有导演、编剧、主演对自己创作的阐释,此外还有对中国中产电影发 The counterattack and controversy caused by the middle-class comedy “Affectionate Love” made us think it necessary to make a special project on “middle-class movies.” Mainland middle-class movies, is a matter of nearly two decades, go back further, will have to the Republic of China. At present, the mainland middle-class films are not only in a small number, but also in a single type of content. There is no category of marriage derailment, and there is a lack of exploration courage beyond morality. There is also a growing lack of consensus. However, in Europe and the United States, the middle-class movies in the film industry accounted for a large proportion of quality, variety, although the attitude of directors are not the same attitude, but in fact rely on a relatively stable values. This issue, we have the “Love” and its analysis of the social repercussions, but also director, screenwriter, starring his own interpretation of the creation, in addition to China’s middle-class movie hair