刁亦男导演的《白日焰火》延续了前作的独立性,在慢节奏中保持着丰满的戏剧张力,在第64届柏林电影节大放异彩,成为国内为数不多的叫好又叫座的艺术影片。本文从黑色电影理论入手,在剧情设置、人物设定等多重维度下剖析影片的迷人气质与困惑根源,分析新一代导演的独特创作风格。 Director Diao Yatun’s “Daydream” continued the independence of his predecessor, maintained a plump drama tension at a slow pace, shone in the 64th Berlin Film Festival and became one of the few art films in China. Starting from the theory of black film, this article analyzes the film ’s charming temperament and confusion under the multiple dimensions of the plot setting and figure setting, and analyzes the unique creative style of the new generation of directors.