There is still a long way to go, which is a pity.
The screenwriter's inappropriateness is a bit obvious. Do the workers of the Baotou state-owned steel mill use written language and literary accents in their daily chats? The non-linear editing is more casual, and the fillers and flashbacks are occasionally a bit cumbersome. Although there are a lot of movie-like scheduling beauty and lens beauty, the overall temperament and rhythm are very domestic dramas...
The theme is still the hidden wounds of personal and family dimensions in the context of the torrent of the times. From the end of the 1970s to the present, going to the countryside, reforming, planning family planning, cracking down, being laid off, going to the sea, losing one’s only child, there was only one math problem in the social waves of those years. I don't know if there is any hint of madness in the Berlin edition.
Alia's Li Haiyan reminds people of the role of Teacher Lu Zhong in "The Intruder" countless times during the viewing process. Personally, I feel that this kind of representation of persecutors in the name of the times does not require suffering and repentance to dispel the power of criticism. The reconciliation at the end was too easy and too idealistic, very old mother's uncle. The script that started with Yongmei's suicide was a bit broken.
Is the ending really happy? I don't think so. Because the plot cruelly arranged a dialogue of "it's time to change the second-generation ID card", the motive behind the warmth is unbearable. Probably can only be so confused about the old age that can't think about it.
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