It's a bit similar to the plot of "Ignore One Mind", a bipolar youth who is about to face imprisonment, a mother who is still thinking of saving it, and a story between neighbors with aphasia. The actors' acting skills and emotional expression are impeccable, but they lack some layers in depth, but they focus more on personal perspective, which is directly reflected by the biggest feature of this film: the frame. Most of the current movies are 16:9 or 21:9. Even the 3:2 and 4:3 in the early years are rarely used. I have seen the 1:1 format in "Nie Yinniang" in recent years, but 95% of the time (more than 2 hours) of this film is in 1:1 format, and it is not the 1:1 of a large scene like a medium format camera, but a small angle of view that is very ins-like. This 1:1 perspective for a long time gives people a feeling of depression and hopelessness. The film only uses a 16:9 wide format in two places. One is the first time the three protagonists are playing happily, and the format has changed a lot. Suddenly, the second place is that the mother had a daydream of "If my son was not like this, how wonderful my life would be" on the way to the juvenile detention center, the frame changed slowly, with the gradual music pushing towards The climax, and then quickly returns to reality as the daydreaming is finished - 1:1 format. It seems that this method is very deliberate, but it really reflects the director's purpose very well, because this method is really depressing, and it is really changing the frame to make people feel the change of emotions quickly, yes, it is not so much. It's a drama rather than an emotional one. These should all be processed in the post-editing process, but the pre-shooting should have already determined the idea of trying to place the subject in the middle of the screen to shoot, so as to facilitate the later occlusion.
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