——Remember Lee Chang-dong's "Mints"
rails are always interspersed throughout the protagonist's life, but their hues also quietly change with the film's narrative time. Whenever the empty railroad tracks appear, "opening" will always sound at the right time. Its metaphor is as clear as a mint. It is this railroad track that is juxtaposed with life. It seems to be full of sunshine and flowers. Jin Yonghao has mixed feelings and finally embarked on the road of no return that he thought was the way back. The whole film travels back in time in a kind of disillusionment and nothingness, to that distant bright source. At that time, he saw the railroad tracks and trains, as bright and longing as those flowers woke up in the spring. Kim Yong-ho's life started and ended in spring. Spring is Kim Yong-ho's river. A Heraclitus river. When Kim Yong Ho shouted "I want to go back" and faced the oncoming train, the camera captured his ashen face and the hopeless eyes like narrow doors. His death reverses the narrative time of the film. The narrative structure of the film arrives at the sophistication in craftsmanship, which is like a mint in a bottle. Mints are undoubtedly a good start for Kim Yong Ho. They are bottled, like the dice of God, and with every shake, their beauty dims. There is a fatalistic tone to the entire film. All of this can be regarded as the beginning of the mint being trampled in the film. Jin Yonghao has been constantly refuting "life is beautiful", and Jin Yonghao's life experience is universal. He has experienced various major social events, and the individual is so lonely in the push and shove of history (social and political). When the individual body raises the white flag, it can only sink, and even destroy the light and become dark, until the abyss persecutes it. This self-sinking force of gravity is huge and terrifying, and even the original good faith cannot be relieved. So only let the demise of the physical body become a new birth and a new beginning. And we know that many times after death is as empty as life. As empty as a dark cave. In this eschatological fatalism, the real outlet should be wounds and self-redemption. Interestingly, after catching his lover's adultery, Kim Yong-ho was playing "catch the rainbow" on the way to a revenge-style affair with his secretary. So the rainbow seems to be shrouded in illusory and ephemeral colors, even an illusion. Because this short-lived light will only make the body darker, and eventually drown in the darkness.
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