From this film, I can see many shadows of neorealism, daily trivial habits, such as the old aunt's habit of drinking water, and always watering the plant at the end; the details of my mother's cooking, etc. In addition, at the end, the family of three rides on an ox cart and marches towards the future life. This is the consistent ending style of neorealism. There is no clear ending, but leaves the audience some blank and room for thinking. The composition of the picture has a few shots that left a deep impression on me. One is when my sister is accused of stealing a neighbor's child's beads, and her mother throws her out of the house, where a wall is placed between the mother and daughter. The director used several similar shots to divide the space in the film. At the same time, the combination of motion and stillness is used very well in the film. After the husband informs his wife that he will be home soon, a heavy rain is coming. The torrential rain is heralded by a series of coherent natural scenes. Ripples, mayflies throbbing on the still water surface, and dragonflies flying low around lotus flowers all foreshadow the restlessness before the rain and what is to come. The whole film actually tells the tragic life of Indian women, from the old aunt to the mother who can only stay at home and wait forever, to the last sister who died, all express the tragic life of the woman. On the other hand, no matter how poor a man is, his family will leave the best to him. Although his husband shoulders the responsibility of supporting the family, he often does not return home for half a year or more, and he has little care for the family. The most heartwarming scene in the whole film is when my father taught my brother to write in the evening, my mother braided my daughter's hair, my sister and brother were lying in the arms of the old aunt and listened to her telling the ancient legends. This is a rare peace and tranquility in their family.
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