After reading the complete second time, in the middle, I felt that "China Box" with too strong political metaphor has a strange quirk of colonial aesthetics. Between politics and art, the line of elaboration of texts cannot be distinguished, which leads to doubts. This city is also like a soul with a hard life. All compromises or protests are for living. At the last-minute dance in 1996, what would John, dancing with Vivian, ask her if it wasn't interrupted by radicals who killed themselves with guns? The history of John and Vivienne in Beijing is unknown, except for that photo. Maybe this is what Li said about the script error, but pulling the background out of the way gives a strange realization, as if they had known each other in a previous life. In the city that never sleeps in Mong Kok, John, who was in a panic with a DV, was also like the dog that was always running, colliding in the dark cage. The soundtrack is a man's anxious roar, torn apart. John mistakenly identified Vivian, and Jane is the real Hong Kong. There is no definite definition of freedom, and Jane still wanders. She's not going away, just something will change. Jenny is Vivian telling John about her past. Vivienne told John that she would never see Jenny again. Hong Kong used to be an "honest whore", but Jenny is gone forever. Vivian remained silent, her emotions were hidden at the bottom. Her eyes are like corals in the deep sea, clumps swaying secretly, and there are inner rushes and whirlpools in the silence. The secret in her eyes is an ancient game. John didn't know the answer either. I like her to run on the rooftop with John the most, which is like an ideal of John. But Vivian was happy. Will she really leave Hong Kong? Perhaps this is another of John's ideals.
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