I just finished reading this film review, and I think it should be useful to you!

A touch of sadness, a deep yearning —— Old Things in the South of the City

Outside the pavilion, by the ancient road, the grass is blue and the sky is blue

The evening wind blows the flute, and the sunset is beyond the mountains

The horizon is far away, and the intimate friends are scattered

Life is rarely a gathering, but it is only a parting from the pavilion

. The song is called Farewell, but I prefer to call it Elegy. Li Shutong wrote the lyrics together, but I don't know why it is different from the farewell we sang when we were young, but the beginning of Old Things in the South of the City is "Ode to Love" with a sheng and a harp ...

Music is penetrating, and an episode spreads the "faint sadness and heavy lovesickness" and opens an old photo that is old, precious and cannot be reshaped. Camel bells in secluded lanes, the sight of carrying a load and shaving one's head, singing along the street, drawing water from a well platform, and the picture of primary school students leaving school all make people fall into silent sorrow. Looking for Lin Haiyin's inner feelings, the film uses artistic techniques such as symbolism, implication, contrast and repetition to create a quiet, indifferent and simple artistic conception similar to China's ink painting, and draws a faint and not hideous tragic scene. Downstairs of the dark and foggy city gate, the camel team moving slowly, the well slot of the monotonous and repetitive street corner, and the quiet and cicada-like alley are filled with beautiful sadness and poetry in the tragic atmosphere.

at the end of the story, all the characters leave eiko, including her father, and eiko is no longer a child. As we grow up, we lose things again and again, whether it is friends, playmates, memories, time or relatives. I thought it was so sad! However, when I was walking in the Lin Haiyin Forum, I saw the cry she shouted when she returned to China in 1988: "Where is my wall!" I can't help but accompany her heart to break again and accompany her to tears. The pain of loss still lingers in the hearts of our generation ...

Never be a destroyer of beauty because of a momentary shallow view, which is unforgivable.

In "Old Things in the South of the City", a little girl looks at the world with clear eyes, and has to immerse her heart in her childhood, and has been immersed in her childhood ... awakening the colorful, hazy and dazzling beauty.

Ling Meng said: I always think that I am a person who doesn't like memories. I don't have the habit of keeping old things, and I don't have intimate old friends to reminisce about the past. Besides, life in my twenties is disturbing one after another, and there are so few years of consciousness. What do I need to remember? -until "Old Things in the South of the City".

I always thought that childhood in chaos had no grandmother's ballads, no stream in front of the door, no frogs under the fence on a moonlit night, no shade from an old pagoda tree in summer, and even no butterfly picking by calling friends, so I should forget it. -until "Old Things in the South of the City".

The things that I thought were forgotten, the things that I thought were forgotten, but those people have been lurking in a corner of my heart, and now they are coming in like a tide. The faces of childhood playmates, who thought that they had forgotten their childhood, were alive again at the moment, as if they were just around the corner. In fact, everyone has the same good memory, but like us, we always lose the key inadvertently and can't open it. -I'm glad to have "Old Things in the South of the City".

yes, until the old story of south city.

this passage is also good!

Relatives are the spiritual pillar of people's life, and the departure of relatives brings people not only sadness, but also mental torture. The director uses the separation of relatives to explain the true side of human nature. In the two scenes in which Xiujuan, a delirious woman, tells Eiko the story of her child and takes her child to find her father after seeing her own flesh and blood, Xiujuan's longing for the child is the reason for her delirium. She points out that the child in the painting is her own child, and her love for Eiko reflects a kind of maternal love after losing her child, and her entrustment to Eiko: "Don't forget to bring him back when you see my little noble child". The director uses this simple and simple sentence to show her relatives. At home, the servant fed his brother medicine, the conversation between the ward and his father, the servant asked Eiko to write letters instead, the couple talked in the yard after the death of the servant's child, and the five scenes at the end of the film where he was separated from the servant in front of his father's grave, the brother's dependence on the servant showed the inseparable feelings between relatives. After the child died, he said, "I won't go back. It's no point going back. What will the children do when they are dead?" It fully shows that relatives are the spiritual pillar of her life. When sending money home month by month to let Eiko write letters, the words that love her children deeply draw the hearts of the audience, so that the audience can also appreciate her kind of maternal love. Several students mourned in front of his father's grave, but the audience understood that his father was a revolutionary, and he didn't get up as soon as he fell ill in order to make this society bright. The director used the lens of the tomb and the servant to set off the true feelings in people's hearts. Here, the director used it properly and sublimated the story of the film to make the audience scream.