欧洲影评人Gerwin Tamsma：一枚珍宝

　　A gem. Without judgement or drama, but with all the more feeling for every daily detail and composition, the debutant He Jia shows a remote minority community. A stranger comes to bring the villagers photographs taken three years earlier in the village. As refreshing as a Sunday afternoon stroll.
　　一枚珍宝。取消戏剧冲突和价值判断，代之以细腻真实的生活化气质，导演禾家用这部处女作引领我们走进一个遥远的少数民族群落。一个陌生人造访村寨，为村民送来三年前在此拍摄的照片。清新，如漫步于周日的午后。
　　In this observing début by the young Chinese photographer and director He Jia (his original, ethnic name; he is also known under the name Wang Haolin), an elderly man from the city is followed as he goes to a Catholic mountain village in a remote area of the country.
　　He goes there to show the local people photographs. The photographs were taken three years before by his son. We find out next to nothing about the motives of the photographer. With a steady hand, the director films how the man goes round the houses, accompanied by one or other of the villagers in turn, to confront people with their recorded past, and hence also with change. Their reactions are as modest as they are charming and animated and The Land grows, as long as the viewer abandons expectations about dramatic plot developments, into a beautiful portrait of country life.
　　一名长者离开城市，前往一个信仰天主教的小山村。中国年轻导演兼摄影师禾家用敏锐的镜头语言记录下所见所闻。
　　他来这里，是为了送上三年前儿子为村民拍摄的照片。摄影机跟随老者拜访一户户人家，带来凝固于方寸间的过往。没有大悲大喜，拿到照片的人一脸恬淡，那迷人而生动。《大地》缓缓地讲着，不温不火，观众终于抛开对戏剧性情节的期待，尽享眼前一派宁谧的田园风光。而照片的来龙去脉，一直是个谜。
　　The expression 'less is more' certainly applies to this mature and uncompromisingly humanist document, a personal study of small-scale emotion in an economically backward area. Only after a village feast sketches a pleasant overall picture of this apparently uncomplicated community at the end of the film, we get to see the photos he has shown. Photos that without the prior images would probably have led to clichéd reactions, but now no longer offer that opportunity. Profundity went on ahead.
　　一个人，从个体的角度平静地关照一个经济落后地区，我们完全可以用“少即多”来形容这部成熟、坚定，充满人文情怀的影片。只有在影片结尾，一场村宴勾勒出小山村质朴的全貌，我们终于得以见识一张张照片，还有上面栩栩如生的脸。倘若没有前面的铺垫，这些照片或许只是陈词滥调。影片的深度，由此宕开。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　Gerwin Tamsma
　　
　　The jury awards The land for achieving in cinema what is impossible through any other artform by showing its subjects and the viewers how humanity remains unchanged with the passage of time.
　　《大地》用影像为我们呈现了人文精神如何在时间的流逝中完好保存下来，这也是除电影以外的其他艺术形式难以做到的。《大地》因此被授奖。