We were not too moved by this film. When we watched the film, we all knew that Tianqing's filial piety and isolation were bound by feudal ethics, but it never convinced me or reached empathy. (To some extent, can it reflect the progress of China's consciousness of sexuality and freedom in the new era?) It may be because some slightly deliberate plots and gorgeous colors have diluted the rough texture of the countryside, or it may be because of the critique of etiquette. There is less sympathy for analyzing the environment of the times and going deep into the hearts of the characters. The composition and use of color in Judou remains admirable, but the film is different from painting and photography. Laomouzi is a good director with his own ideas and ideas, and magic can also be used to express reality, but as far as "Judou" is concerned, it really lacks some real power.
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