I really like the aesthetics that touch the poetic and philosophical perspectives, the laws of everything, the laws of life, the laws of growth, the objective laws, the amazing concept of everything, the clever perspective, the DP montage, the poetic lyrical montage collection (different from the long-shot poetry), the new wave of the whole film Hand-held emotional photography and jump cuts (Lou Ye learned part of it), the continuation of the operatic aria, the sound, and the clips inserted into the perspective of God that broke the dimension, joined the macro universe, the galaxy-style view of life, the evolution of all things, the reproduction and the extinction of new materials, the rebirth of dinosaurs, and the extinction of brother Death is not dust to the universe. In the cement and steel forest, the memory of family and brother is on the beach of memory, in the green suburban wooden house. Holding the camera, I approach the character, zoom out, and zoom in. Capture the fragmentary state for poetic re-enactment. Substitute a monologue into a completely subjective feeling (not the younger brother's feeling), a wide-angle lens, an intimate perspective on fate and the law of life, limited by patriarchy and religion and social education, began to understand religion, girls, money and order, friends, class gap, from fear of patriarchy to questioning father Quan Shi's father's wrath, friends, the courageous society of the church, the ethical difficulties of resisting patriarchy Sri Lanka finally embraces patriarchy and reconciles 'I'm as bad as you are'
The author overlooks the laws of life like a god
Requiem passages: Overlapping time and space in shape
The overlapping of the Gobi of time, the encounter of brothers in different time and space
The beach of memories is like a dance drama, time and space people meet each other
Aesthetic montage becomes rhetorical straight to the point
The younger brother's retrospect of family memories under the steel jungle
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