与上映前观众的热切期待相比,“希望越大失望越大”显然很符合当时《大鱼海棠》所面临的窘境,时间已过去三个月之久,当时掀起的一轮又一轮话题如今也销声匿迹,但是沉淀下来之后,《大鱼海棠》带给中国电影的不应当仅仅只是一时的话题,它的背后,折射了种种中国电影创作观念的问题。头戴“国产电影的希望”的光环,号称制作十二年,却交代了这样一个敷衍的剧本,羸弱的剧情和模糊的世界观令人不知所措。那个摇摇欲坠的故事背后,显现出的是创作者(甚至是众多电影导演)对电影叙事认知的偏差。暂且不谈电影的三观和未完成的宏大主题, Compared with the anticipation of the audience before the screening, “the greater the hope, the greater the disappointment.” Obviously it is in line with the dilemma faced by the “big fish Begonia” at the time. Three months have passed since the time was set off The topic of the revolution has now disappeared. However, after the sedimentation, the big fish Begonia brought to the Chinese film should not be just a temporary topic. Behind it is the reflections of various Chinese cinema creation concepts. Wearing the aura of “the hope of a domestic movie”, claiming to make it for twelve years, confesses such a perfunctory script, a weaker plot and a vague worldview at a loss. Behind that crumbling story, what is revealed is the biased perception of the narrative of the film by creators (and even many film directors). Not to mention the movie’s three concepts and the unfinished grand theme,