The dereliction of duty in the film gradually realizes his responsibility and cuts off the external force that draws his family to the abyss by destroying the family foundation and life of others. However, his behavior is not determined by the evil of human nature, but by society. The interpersonal and emotional communication patterns at different levels are broken, and the family’s external social function is shrinking day by day. The family or individual huddled in a variety of buildings to form a single entity is the basic landscape of many cities. The resulting image of the father is far from the traditional cognition of the dignity or burden of the male head of the family, and the parent-child relationship that is dominated by the father and related to the two deaths is Mong-Hong Chung’s past works. An extended discussion on unfinished topics such as family and affection. Although Mong-Hong Chung gave his father, who is often aphasia or even absent altogether, a prominent place in Taiwanese movies, the internal communication zone set by the family is extremely narrow
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The director's personal strong style remains the same, but his feelings are more full and gentle. He pays attention to the dark corners of the soul, and also exposes the impatience of the scorching sun when there is nothing to hide. The good and the bad, the good and the evil, are both contrasting and complementary. Yiwen Chen and Ke Shuqin acted into the heart of their parents who were facing disintegration but hard to recover. The younger generations of Chien-He Wu, Liu Guanting, Greg Hsu, and Wen Zhenling are all neat and eye-catching
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