I can't write it anymore, I'm really long-winded.
A very smart warm winter fairy tale, emotional (although not deep but able to do it) can touch my kind of mother treasure and warm feelings. In terms of skills, the reasoning part is relatively weak, and the motivation from "Spider Silk" to "meaning of existence" is reluctantly acceptable to me. The most worth mentioning is that the way the work conveys the core message is very clever. The core of what the whole film tells and reiterates is very old-fashioned (people-to-people trust): "Talking, acting, and acting will become true", because you have doubts before you believe, it's about " Desire to believe" and the resulting practice ("It's up to me to like everyone"), and the results of the practice presented encourage you to go back and be more willing to believe.
A big problem to be solved in this way is: how to transmit this core without appearing frivolous, so that it does not look too hypocritical, and successfully evokes emotional reality.
Instead of speaking from the perspective of world lines and time jumps, we only talk about narrative. A very good technique used in this is to use multiple fictions (that is, fictional nesting, such as the common waking up and discovering that it is a dream. , dreams within dreams, etc.) to admit fictionality. In the first fictional narrative (that is, the story depicted by the male protagonist), the male protagonist, his friends, and his mother trust each other and work together to resist the murderer (destiny). Whether it’s a time jump or a ten-year-old child’s extraordinary maturity, the mother absolutely believes in the child’s perfect parenting style, as if she were in a fairy tale world with a cruel beginning but a bright ending. inside. Unless the audience keeps reciting the incantation of "the world is always in love, the living can die and the dead can live", otherwise it is difficult to be persuaded in the face of such a large number of de-realistic elements. Then it is very smart and sincere to admit this kind of fiction in the second layer of fiction. Some loopholes in the first layer of narrative and the "false" parts that appear to be idealized have received realistic and reasonable explanations in the following two possibilities: the cartoonist It is only natural to engage in fiction; if a cartoonist is also a fantasy, then a heroic fantasy story written by an ordinary person in a notebook can of course be a fiction.
The problem with fictional nesting is that it needs to be unified, or the story will break apart. In the end, the appearance of the mother's name on the express package, the big brother of the pizza shop, and Aili (or Jiadai in reality) bridged this split. At the end, the male protagonist saw Aili appearing and said "believe". So far, double fiction Unified in the characters (anchors) running through both sides, the core of the story is reiterated, and it can also leave a "suspenseful" tail. Although the acknowledgment of fiction (he was creating it) seemed old-fashioned like the "dream" interpretation, the emotional effect aroused by adding a layer is still much better than not.
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