An emotional void, where the trivialities of daily life are collaged in a sticky and humid environment, and every marginal, lonely and lost individual wanders in the temptation of desire: sinking or disillusionment - "In contemporary In society and in contemporary culture, i.e. in post-industrial society and post-modern culture... the grand narrative loses its credibility, whatever its unifying form: speculative narrative or liberating narrative. The capital 'meta narrative' is destroyed, So the postmodern began to 'seek differences'. After the standard disappeared, a multi-state discourse law was established. Everything is text, everything is discourse, there is no single truth, and there is no God. In this way, human thinking has There are infinite possibilities, so everyone can go to find their own unique experience, to doubt and examine everything.” What they have is an “abstract pain”, expectations for the future and desires, but this expectation is Uncertain and uncertain, not knowing where it will go, the inhuman state of the footless bird makes the subject disappear, leaving only a wandering soul swayed by emotions and countless frustrations and frustrations.
What runs through all the characters is a huge network that is broken but deeply rooted in each other. The appearance of this network is full of inevitable coincidences, so that young lives on every edge are connected together, and they are connected with history, politics and politics. They have nothing to do with their home country, they are just hanging individuals, without any trace of identity, scattered like walking mice in the most unbearable but real places: video game stores, cinemas, rental houses and guest houses: "People and Human relationships and conflicts are no longer simply derived from status, class, age, or even gender. It seems to only come from individual encounters, collisions, closeness or distance.” The microscopically detailed presentation of the living state interprets “time. It's just an empty noun that precedes the narrative" attitude, pulling out of context, making the sense of history disappear, all the daily trivialities: eating, talking, kissing, smoking, stealing and washing, any fragment at any time. is established, and the time factor therefore disappears. "Cai Mingliang uses natural light, on-site environment, non-professional actors, camera's random and objective records, and open endings to make the images presented in his films look like real aspects of society." The closed space makes the wandering movement nowhere. You can settle down, small houses, cages made of barbed wire, crowded phone booths... All the space settings present an indescribable sense of restraint, coupled with the long shots and the cluttered natural environment, the characters are changed. Become abstract, unreal people, their values, their experiences, become a symbol.
Just like the setting of the water element in "Long Live Love", all it wants to express is a kind of material pulling, or a desire for physical attachment. The water that submerged the room pulled the characters into the cracks on the surface, so people had a subtle connection, kissing or hugging, and then they disappeared. He likes Xiaokang's joy in the room very much. He uses aimless search and slightly morbid revenge to determine the orientation of himself, and then continues to wander aimlessly, in the still shabby and sticky rainy season.
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