The story is more complicated than the roadside picnic, probably due to the increased repetition of characters. The soundtrack is advanced, and the shots are also very smooth. I feel that the last long shot has a very long and expensive track. The 3D part seems to be rotating with the house along with Huang Jue, causing vertigo. The concept and time observation of his design structure are very similar to Laota. Neither of them pay much attention to the continuity of the plot. Naturally, the fewer shots, the better. Laota likes to move the mirror with people's hearts, while Laobi is a Walking along dreams and memories, this poetic narrative is full of imaginative magnificence, allowing the audience to directly become a participant rather than a bystander. Bi Gan is a small-town youth with a strong sense of all corners of the world, and he is very envious of his chance to romanticize his hometown. The only disappointment is probably that I have been looking for another Apichatpong myself, but haven't found one. This part of the English name borrows from O’Neill’s long night and long journey. The Chinese name should be called Winter Solstice Story. The days are getting longer and longer, and it is difficult to enter the night, and it is difficult to enter into memories and dreams. Looking at the calendar next to it, it is December 22. The tip of the knife plunges into the water, the microscope looks at the snow, and the play is instantaneous, probably because this is Bi Gan's Zhihu signature
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