The logo at the beginning of the film reflects that this is an animated short produced by Pixar Animation Studios in the United States and distributed by Disney. The name of the director of the short film, Shi Zhiyu, and the sounding background music indicate that this is a work related to the Chinese environment. The scene then fades in to a shot of a woman facing each other, surrounded by pots of stuffing and chopping boards under the dough. The woman quickly rolled out the dough, and the close-up of the steamed buns showed the woman's skillful skills. The steamed buns are steamed in the cage, and the woman in the next scene will officially appear, which is an East Asian face. The background music gradually disappeared with the buns on the table, and the tone changed from warm to cold. A panoramic view showed a family environment with Chinese characteristics. There are three people in the photos hanging on the wall, and there is also a single photo of the big head son, which means This is a family of three, but the son is absent. Afterwards, the husband glanced at his watch and quickly finished eating the steamed buns and left the screen on the right side with the briefcase, giving the woman a sense of loneliness in the close-up view. A close-up of eating steamed buns, the steamed buns suddenly come to life and reveal their faces. The image of the little buns is very similar to the image of the son hanging on the photo wall. Bao Bao Bao was crying like a newborn baby in the cage. At this time, the background music was gradually entering, from warm to cheerful. The woman held Bao Bao Bao beside her face and the music had a new turning point. The women take care of Bao Baobao like traditional Chinese parents, for fear that the children will bump into each other. Measuring the height of the child, buying dishes, and buying cakes and breads are all warm and happy, the background music is cheerful and cheerful, and the colors are warm and warm. On the bus, the woman and Bao Bao eat bread together. The scene of eating bread appeared three times in total. The first time was when Bao Baobao and the woman were eating bread together when they were young. The expressions of the two were happy, indicating that the memories at this time were good; The baby got angry because the woman didn't let him play football with the other children; the third time was when the son showed up to apologize to his mother, and the two wept and ate bread together. These three times respectively reflect that the young son can’t be separated from his mother and lives under the careful care of his mother. The rebellious teenage son is bored with his family. When I saw my mother's love for me and my unbreakable feelings for my mother, I took the initiative to apologize to my mother. Bao Bao grew up day by day. During Tai Chi, the woman rescued Bao Bao who was carried away by the dog, gave Bao Bao a bath, and so on. Finally, the picture stopped on Bao Bao wearing a red T-shirt and black-rimmed glasses. In front of the fruit-picking stall, the background music changed from soothing to lively, Bao Bao also ran out with the children playing football, but the woman hugged Bao Bao back to prevent him from playing with his peers. Later, when we did Tai Chi together, the woman hugged him away in panic. Bao Baobao, who secretly played football, rejected the woman's offer on the bus in the past, and was angry with the woman. In the next shot in the kitchen, the shot is vertical, the woman is the foreground, and Bao Bao is the background, which visually widens the distance between Bao Bao and the woman, implying the alienation of the relationship between the two. The woman stood in front of the door eavesdropping, and did not understand Bao Bao Bao's behavior, so she carefully pushed the door open to see, Bao Bao Bao did not look at her in the subjective lens, Bao Bao smiled happily, and turned to look at Bao Bao's face. It got cold and closed the door. In order to please Bao Bao Bao, the woman made a table of delicious food, and Bao Bao Bao got into a friend's car regardless. The woman finished all the meals at the dining table in a fit of anger. At this time, the tone of the picture was cold. After that, Bao Bao Bao, who was standing outside the door, suddenly pulled out a girlfriend. The close-up of the girlfriend's diamond ring and the surprised expression of the woman all implied the bad emotional communication between mother and child. Bao Bao took the luggage out of the corridor, and the main theme of the background music became sad and sad, reflecting the woman's reluctance to part. The contradiction between the woman and Bao Bao at the door intensified, and the background music was also tense and uneasy. The mouth reaches an orgasm, the background music ends, the picture dims, and the lights converge on the woman. The sleepy woman regarded her son's figure as Bao Bao Bao, and it was not until her son officially appeared in the audience that Bao Bao Bao was only the incarnation of her son, a product of a woman who was too lonely. In the dim and warm light, the two forgave each other and ate the bread they often ate when they were children. The background music changes from muffled to cheerful, and a close-up of a pair of hands wrapping bad buns turns into a panoramic view. It is the son and the foreign daughter-in-law who are here. The family of four is enjoying themselves. The camera gradually zooms out, taking the audience away from the story. This is the end of a Chinese-style story of mother and child. The mother and child never know how to say love to know how to respect each other and forgive each other. This is what thousands of Chinese families need to do and achieve, parents and children. Formal reconciliation between. A girlfriend, the close-up of the girlfriend's diamond ring and the woman's surprised expression allude to the poor emotional communication between mother and child. Bao Bao took the luggage out of the corridor, and the main theme of the background music became sad and sad, reflecting the woman's reluctance to part. The contradiction between the woman and Bao Bao at the door intensified, and the background music was also tense and uneasy. The mouth reaches an orgasm, the background music ends, the picture dims, and the lights converge on the woman. The sleepy woman regarded her son's figure as Bao Bao Bao, and it was not until her son officially appeared in the audience that Bao Bao Bao was only the incarnation of her son, a product of a woman who was too lonely. In the dim and warm light, the two forgave each other and ate the bread they often ate when they were children. The background music changes from muffled to cheerful, and a close-up of a pair of hands wrapping bad buns turns into a panoramic view. It is the son and the foreign daughter-in-law who are here. The family of four is enjoying themselves. The camera gradually zooms out, taking the audience away from the story. This is the end of a Chinese-style story of mother and child. The mother and child never know how to say love to know how to respect each other and forgive each other. This is what thousands of Chinese families need to do and achieve, parents and children. Formal reconciliation between. A girlfriend, the close-up of the girlfriend's diamond ring and the woman's surprised expression allude to the poor emotional communication between mother and child. Bao Bao took the luggage out of the corridor, and the main theme of the background music became sad and sad, reflecting the woman's reluctance to part. The contradiction between the woman and Bao Bao at the door intensified, and the background music was also tense and uneasy. The mouth reaches an orgasm, the background music ends, the picture dims, and the lights converge on the woman. The sleepy woman regarded her son's figure as Bao Bao Bao, and it was not until her son officially appeared in the audience that Bao Bao Bao was only the incarnation of her son, a product of a woman who was too lonely. In the dim and warm light, the two forgave each other and ate the bread they often ate when they were children. The background music changes from muffled to cheerful, and a close-up of a pair of hands wrapping bad buns turns into a panoramic view. It is the son and the foreign daughter-in-law who are here. The family of four is enjoying themselves. The camera gradually zooms out, taking the audience away from the story. This is the end of a Chinese-style story of mother and child. The mother and child never know how to say love to know how to respect each other and forgive each other. This is what thousands of Chinese families need to do and achieve, parents and children. Formal reconciliation between.
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