By jasper 
Director Guo Fan expressed it best: “Pushing away Earth embodies China’s unique sense of national sentiment. As an agricultural civilization evolved over time, we view land as our most precious asset. Even when leaving it behind, we want to take our homeland with us.”
Plans like Moving Mountains Plan or Chasing Moon Plan sound incredibly romantic and inspiring just by their names alone!
Many people dislike grand narratives outrightly dismissing them entirely.
However,“2001: A Space Odyssey,” considered one of sci-fi cinema’s pinnacles centers around contemplating humanity’s collective destiny—a pursuit also evident throughout “The Wandering Earth 2” paying sincere homage therein.
Thus grand narratives shouldn’t be seen negatively within “The Wandering Earth 2.” They form foundations for high-level sci-fi films—the key lies within expressing sophistication & refinement therein.
Sci-fi writer association member/film critic Electron Knight noted:
“Recent films such as ‘Gravity,’ ‘Interstellar,’ ‘Ad Astra,’ & ‘Life’ increasingly adopt personal narrative attitudes where space exploration/interstellar travel no longer represents grand epics concerning humanity’s future but rather individual journeys involving memory/family/search.”
Even low-budget indie sci-fi films like “Her,” “The Lobster,” “Moon,” or “The Man From Earth” alongside big productions like “Gravity,” “Interstellar,” or “Avatar” lack themes contemplating humanity’s fate akin to older contemporaries like“2001: A Space Odyssey.” Their primary storylines focus upon individual characters instead—both“Gravity”&“The Martian” revolve around personal survival stories while space serves merely backdrops highlighting individual calamities therein
This isn’t criticizing these works but rather noting how“ The Wandering Earth’s” national sentiment/community spirit resonates more deeply aligning w/Chinese values inspiring reflections upon civilization/life/future therein
“I believe I’ll see blue skies again—with flowers hanging upon branches.”
To better convey such spirits Wang Hongwei (script consultant) bravely employed chronological narrative techniques throughout“ The Wandering Earth II.”
Hence viewers repeatedly encounter large year subtitle cards/countdown reminders therein
Some may perceive such methods narratively incompetent yet Director Guo Fan once consulted Liu Cixin who noted true sci-fi should resemble documentaries presenting future histories therein
Thus chronological storytelling effectively achieves desired effects adding epic grandeur thereto
Whereas first installments overly emphasized individual heroism highlighting single characters excessively then“ The Wandering Earth’s sequel focuses upon humanity collectively choosing paths forward instead
Notably lunar crisis scenes featuring astronauts aged over fifty globally stepping forward collectively highlight responsibilities amidst crises wherein great ambitions entail sacrifices daring change unto heavens/earths alike
Responding unto Liu Peiqiang’s inquiries MOSS asserts civilization’s fate hinges upon human choices wherein humans collectively answered choosing hope regardless ultimate historical outcomes guiding destinies ahead
Ultimately human histories celebrate courageous beginnings epitomized via projects depicted within movie franchises themselves
This year’s Spring Festival season marks first fully open post-pandemic celebrations albeit data comparisons indicate recoveries lagging behind prior years’ performances somewhat still Films akin unto“The Wanderings Earth’s sequel entail immense production costs！