Still that summer.

The world presented to us is like a thin and clean exterior after Xue Ji. Empty can make people lost and intimidated, but it does not give people a sense of confinement. It is those enclosed spaces that feel most depressing - narrow passages, obstructing counters, low ceilings. Outside of the outside, what suppresses emotions is the emotions themselves - people's terrible inhumanity, exclusivity, class, utilitarian VS protection between people, self-sacrifice, complementarity, and dependence. Does one need another – the answer is yes. In the whole process, whether it is sound or people, outside or inside the painting, I always feel two kinds of existence. The intentional composition is the absolute focus of the film's analysis. The long takes and the eerie graphic renderings force you to feel and reflect. Nervous enough to feel bad. When Otilia asked Adi what would you do if I was pregnant, one side was flashing, and the other side was the understatement that at least Gabita would help me. Same-sex friendship is heart-to-heart. The opposite sex is much more complicated because differences are inherent. Let's talk about the most powerful last bit, the ending of Lu Xun's "Kong Yiji" is compared with the "too late to aftertaste" and "unfinished" here - I don't think it can be compared. That resonant image is so direct and abrupt. i like this film...yeah...

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