電影《等風(fēng)來(lái)》自上映以來(lái)，票房口碑雙豐收。作為《失戀33天》導(dǎo)演滕華濤和編劇鮑鯨鯨二度聯(lián)手推出的作品,該片講述了一場(chǎng)都市“漂泊族”追尋自我的治愈系之旅。

　　Critically acclaimed or not, well received by audiences or not, the film Up in the Wind is undoubtedly going to be compared with Love Is Not Blind, the 2011 dark horse of Chinese cinema.

　　不管《等風(fēng)來(lái)》是否廣受好評(píng)，觀眾是否買(mǎi)賬，該片都無(wú)疑會(huì)被人拿來(lái)同2011年的影壇黑馬《失戀33天》比較一番。

　　From the same director (Teng Huatao) and the same screenwriter (Bao Jingjing), Up in the Wind even has a similar theme to Love Is Not Blind: A female white-collar who is at a low point in her life meets the seemingly annoying male protagonist. With his company and care, she gradually finds her confidence again.

　　《等風(fēng)來(lái)》是導(dǎo)演騰華濤和編劇鮑鯨鯨繼《失戀33天》后再度聯(lián)手打造的作品，甚至就連影片主題也與上部作品有著相似之處：處于人生低谷的女白領(lǐng)遇見(jiàn)看似惹人厭的男主角，并在他的陪伴與關(guān)心中逐漸重拾信心。

　　In the film, the pair is young food columnist Cheng Yumeng (Ni Ni) and Wang Can (Jing Boran), an ignorant yet loving member of the rich second generation. Together with a few other friends from different backgrounds, they go on a trip to Nepal.

　　在影片中，男女主人公分別是美食專(zhuān)欄作家程羽蒙(倪妮飾)和頭腦簡(jiǎn)單卻一副熱心腸的富二代王燦(井柏然飾)。二人各自與形形色色的好友們一起踏上了尼泊爾之旅。

　　In the form of a road movie, Up in the Wind follows the spiritual healing trip of these young people drifting in big cities, and looks deep into their state of mind.

　　《等風(fēng)來(lái)》以公路電影的形式，講述了大城市中“漂泊族”的心靈療傷之旅，探討內(nèi)心深處的故事。

　　Fortunately, we see the film continuing with what made Love Is Not Blind a success: relatable instead of grandiose, funny but not ridiculous, emotional but not pretentious, a low-budget film that is really smart in its marketing.

　　值得慶幸的是，該片延續(xù)了《失戀33天》的成功元素：接地氣而不浮夸;搞笑卻不荒唐、感人卻不做作，成本低卻善于營(yíng)銷(xiāo)。

　　The first part of the film’s slogan says, “It’s no chicken soup for the soul”, maybe in an attempt to avoid being too preachy. But essentially, the film is indeed a “chicken soup”. And it’s not a bad thing at all, because unlike one filled with artificial ingredients, Up in the Wind is a soup made with real substance.

　　影片一開(kāi)始便打出“不是心靈雞湯”的口號(hào)，可能是想避免落入說(shuō)教的俗套。但從本質(zhì)上來(lái)說(shuō)，該片可謂是不折不扣的“心靈雞湯”。當(dāng)然這并非壞事，因?yàn)椴煌谀切M(mǎn)是“人工添加劑”的影片，《等風(fēng)來(lái)》這份“雞湯”來(lái)得誠(chéng)意十足。

　　No particular emphasis on timeless romance, sorrowful farewell, or great awakening, the film takes more of a moderate approach. For some, this unusual angle may make the film seem unfocused. But that’s what I like most about it. And no, Cheng and Wang don’t end up falling in love with each other, because the film is larger than that.

　　片中并未刻意突出永恒的愛(ài)情、悲傷的離別、亦或是發(fā)人深省的主題，更多地是走一條溫和路線。 對(duì)一些人而言，這種與眾不同的拍攝角度使得該片有些摸不著重點(diǎn)，但這正是我最欣賞的地方 。程羽蒙和王燦最終沒(méi)有陷入愛(ài)河，因?yàn)橄鄬?duì)于談情說(shuō)愛(ài)，電影有著更深刻的主題。

　　Teng’s perseverance with his down-to-earth theme and authentic style should be applauded, especially in today’s film scene, in which many filmmakers look for a shortcut to fame and fortune.

　　騰華濤導(dǎo)演憑借質(zhì)樸的主題以及真實(shí)的拍攝手法，理應(yīng)收獲贊譽(yù)，特別是在如今的影壇中，很多電影人都在尋求通向名利的捷徑。

　　In the film, when the trip ends, everyone returns to their normal life. The trip neither changes who they are nor enlightens them from deep within. But some memory will be there forever, striking a chord once in a while and reminding them of the way they were. That’s what Up in the Wind is really about.

　　片中，當(dāng)旅行結(jié)束時(shí)，所有人都回歸了正常生活。盡管這次旅行沒(méi)有改變他們，也沒(méi)有帶來(lái)任何內(nèi)心深處的啟迪。但是一些記憶將永存，偶爾觸動(dòng)心弦，提醒他們回首過(guò)往。 這才是《等風(fēng)來(lái)》真正的主題。

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