Qi Ruo gossamer forward, ambiguous death. He has the wealth of the ghetto eyes, and the wit, the art of speech, the talent for debate, but his ultimate aim in using these pursuits is suicide. He did not choose to bury the corpse at will, and even explicitly mentioned "suicide" in the last class of the whole film. The recruits, the homeless, the workers, the seminarians, all young people, all on the path that he had gone before he hit a fork in the road, they knew no more than he did (and didn't show us what the pit was like from head to toe). The information can only be inferred vaguely from the expressions of the cavers.) And the history museum employee who heard it first, "Please turn left" "I don't know this road" "I know. Very long, But it's good and beautiful" "Don't let me lead you down such a bumpy road" "If a man wants to help his fellow, he should do something special, he can save a life, I don't want to Responsible for anyone's death, but I'll do it if you ask." Perhaps the "special thing" Baddi was thinking of was burying his body. The old voice gave him a cherry, he promised to be responsible for his death, he didn't know the meaning of this sentence was no different from being responsible for his life. I'm a big fan of cars and windows, first person and symbols of enclosed spaces, BTW, who the hell told me it's the road, road, film, yes, genre, genre, movie, movie, no, yes, He, mother, yes, any, any, hair, birth, on, public, road, on, yes, film, movie, all, called, public, road, film, yes, ah, ah, ah, ah, ah! ! ! ! ! ! ! ! Three favorite metaphorical shots: 1. Going through the ribs, to a place deeper than the oil, the sand pours down, the shadow twists and wanders in the riot, but is never buried because the person's feet are still on the shore. 2. Buddy sits silently in the dust, wanting to enjoy an atmosphere of death, an instant urge, but the living is still plowing, asking him to "move the car, the excavator is going to work", flower edge of couples asked him "could you take a picture of us" 3. "Go left, that road is longer, bumpier, and more beautiful." The 5-minute poisonous mushroom perspective at the end I tend to think is a vague revolving light, it doesn't matter what ending baddi gets, this film is not through the character ending to determine the value orientation, although I really don't like to preach in movies about the history museum work I'm doing. Two classic monologues: "I hung a rope from the tree, but I couldn't hang it. I tried once or twice, but it didn't help. Then I just climbed up and tied the rope tightly to it, and then I felt in the palm of my hand. There were some soft things, mulberries. I ate one and it was very hydrated, then the second and the third, and suddenly I realized that the sun had risen over the mountain, what a beautiful sun, what a beautiful view, what a beautiful Trees...Suddenly I heard the sound of the children going to school, they stopped to look at me, begged me to shake the tree, the mulberries fell, and they were busy eating, I felt happy, so I brought some mulberries My wife was still sleeping, but she woke up, and she ate mulberries, too, and loved them. I went out with suicidal thoughts and came home with mulberries." "A Turk went to I went to the doctor and said that as soon as I touched my body with my fingers, I felt pain, headache, leg pain, as well as pain in my stomach and my hands. The doctor checked it and told him: Your body is not healthy problem, but your finger is broken."
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