Like the eerie and changeable weather in England, unease hangs over both the camera and the audience. It's the epitome of the current family problems in England, an unhappy duckweed home. First, they kept moving, shifting, and writing letters. In the middle is a little boy who is constantly waiting for the return of his father, who is eager to sail away. Later, it was the remnants of the fake good dad and the real bad dad who was about to die. Several suspense force sneaked in. Mother's uneasy eyes; grandmother forbearingly searching for advertisements in newspapers; Frankie, a nine-year-old hard of hearing boy, often shows extensive knowledge of marine geography both in and out of school. The mother, grandmother, the store owner and her brother are all using different means, based on their love for the boy, to derive all kinds of artificially woven good false stories, false scenes and false characters. In the name of love, the fake is the real, the real is also good. This allows the confident nine-year-old boy to earn enough face in front of his classmates, to be happy and fulfilled, and to brighten his dark childhood. The fake dad is leaving eventually. The real dad will eventually emerge. But with the radiance of kindness and love, and the burning warm sun, I am no longer afraid of the appearance of sunspots.
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