《世界》出现了崭新元素,大都市场景却只是一个虚拟性背景,贾樟柯描写的仍然是小县城的生活。影片的观念性批判意义是:大都市对大多数中国人来说是遥不可及的盆景,他们作为中国现代化的建设者却被拒绝享受成果。深刻重大的批判主题和影片内容的稀薄和艺术表现力的孱弱形成强烈反差,使这部影片成为概念化作品。 The emergence of a brand new element in the world, metropolitan scene is only a virtual background, Jia Zhangke describes the life of the small town is still small. The conceptual critique of the film is that the metropolis is an inaccessible bonsai to most Chinese and has been rejected as a builder of China’s modernization. The contrast between the profoundly critical theme and the thinness of film content and the weakness of artistic expression made the film a conceptual work.