Perhaps thanks to the reputation and capital accumulation of the previous three commercial genres, this work, which is basically farewell to commercial genres, not only flexes its muscles to realize the concept of transnational cooperation, but also establishes a unique vision by relying on wonderful audiovisual methods. Aesthetic style. This slow-paced and ambiguous author's breath continued in subsequent works such as "Invisible Waves" and "Secret Talk", becoming an indispensable label in his works. Since then, Peng Li does not need to continue to explore in the model of Hong Kong-produced genre films. His early works "Different Dreams Karaoke" and "69 Two Heads Hook" always smelled a strong Hong Kong-produced nostalgic flavor and could hardly demonstrate his creativity. In this film, the skillful sound editing creates an ambiguous sense of space, which completely breaks the boundary between real and fantasy pictures. The previous ten-minute passage depicting the protagonist's suicidal mentality is a must. No dialogue is needed, and his inner despair and loneliness are fully revealed by editing techniques. On the other hand, thanks to the soundtrack, the magical electronic music subtly creates the illusion of time stagnation, coupled with the cool interior design (library and the hero's home), portrays the hero's true mood with the external environment. Of course, one must mention Du Kefeng's photography. Using the lens to create an ambiguous sense of space can be regarded as his special skill. In this film, there are many scenes shot with a pan lens, which presents an interesting and intimate relationship between objects and space. The film seems to be divided into two parts, the design of the title did not appear until nearly half an hour, which is also similar to the Thai New Wave director Api Chabang's "Best Bliss Forest". And this plot of the emotional line of the hero and heroine caused by the accidental death is even more remarkable. On the one hand, the appearance of the heroine gradually cut off the suicidal tendency of the hero, on the other hand, because the two of them also suffered the death of a loved one, it can break Resonate with language barriers. This kind of telepathy across languages and races is based on the "exchange" process of each other's life experiences and experiences (the hero moves into the heroine's home to get rid of the original life, and the heroine goes to the hero's hometown to start a new life in Osaka), and then also comes into being The idea of the script is really intriguing because of the meaning of love. Although it is a detached and plain love story, Peng Li still retains the gangster type complex that he has always loved, and he actually invited Takashi Miike to star as a guest! The two bloody scenes before and after are not so much embellished by the film's bland taste, but rather the director brought more realistic thinking to this almost utopian story. In particular, the classic ending scene is still unforgettable (because I have watched the film more than ten years ago). It is a mixture of joy and sorrow when the protagonist is indulged in beautiful fantasy and suddenly returns to the picture of imprisonment. In addition to the gang type complex, the director has more tests The intertextuality of images to test the eyesight of the fans. Part of the plots and images from the first three works appear almost intact in the film again. The blood-splattered walls after the violence and the scene where the hero wipes blood stains reproduce the scene in "69 Two Heads Hook"; the corner of the hero The scene of entering the water deliberately copied the stunning underwater scene in the previous work "The Walking Guy Sings Love Songs". These interesting author techniques have opened up the context of several works, giving the audience a sense of deja vu experience for the stories of these different plots, and then have more open associations with the director's works.
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