So this is exactly how life is supposed to be. Small conflicts between families, small intrigue between mother-in-law and daughter-in-law, anger between a taciturn and arrogant father and a disliked second son, and disputes between the old couple will eventually be resolved between long walks again and again. For the dullness of life. Shizhi's films always hand over all the contradictions and incomprehensible questions that have been obtained before to time and to a life like flowing water, which can always be resolved. It's not the consummation of a big reunion, but a blandness.
Personally, I especially like the trivial fragments in his films where the characters reunite at the table in front of the courtyard to eat, drink tea and chat. Food is what brings the family together best. Women keep washing dishes, cooking, washing dishes and wiping the table, while men can leisurely swing over to steal a bite, and then amuse the children, and the children are more interested in playing. The food in Shizhi's movie seems to have special meanings--a rare family gathering requires the precious sea urchin sushi and eel rice, and the sardine rice bowl and sardine toast in "Diary of the Sea Street" symbolize the dead father, "Like a Father". In Ru Zi, the beef roast in the rich dad's house and the dumplings in the poor dad's house symbolize the disparity of status and the difference in status. I'm glad he didn't make a food movie. In any case, food is a foil for the characters, and it's more to create a sense of daily life with the chatter between meals-because other than eating together, it seems that few people can Time to bring the whole family together.
His films never seem to have a complete sense of ending—because life itself goes on like a never ending stream. The dead old generation is inherited by the next generation, and it continues, like a long summer, it is probably difficult to end it.
View more about Still Walking reviews
