王小帅的电影创作同第六代导演群体的众多导演一样,都经历了一个从“边缘”到“身边”的皈依过程。早期作品《冬春的日子》、《十七岁的单车》、《青红》等的主角几乎都是清一色的少男少女,并且都带有遥远的“边缘”感。而根据真实事件改编的中年题材电影《左右》标志着王小帅的电影创作从“边缘”到“身边”的转型,也体现出整个第六代群体的电影创作从“飘泊”到“皈依”、从“边缘”到“主流”的主题变奏。 Wang Xiaoshuai’s filmmaking, like many directors in the sixth generation of directors, has undergone a process of conversion from “edge ” to “periphery ”. In the early works, “the days of winter and spring,” “the seventeen-year-old bicycle,” and “red and green,” the characters are almost all boys and girls with a sense of distant “edge.” According to the real events adapted from the middle-aged theme film “about” Wang Xiaoshuai film creation from “edge ” to “around ” transformation, but also reflects the entire sixth generation group movie creation from “To ” convert “, from ” edge “to ” mainstream "variation of the theme.