The pain and sweetness of life are intertwined with each other. Large fields of wheat are arriving one after another, and the clouds and mist of the mountains in the distance are in contrast. The people working under the sky, the distant view outlines the picture, as if it is a ritual of life. History keeps returning and repeating itself, life goes on, and the story of Bailuyuan has a beginning and an end. From the beginning of the film, the director wanted to use the soul of the lens to convey this concept to us, conveying it one by one in terms of composition, color, and symbols, and observing the grand themes of human nature and reproduction on our behalf.

Compositionally, as in any fable, the story develops entirely on the extremes of isolation, women and youth; feudalism and revolution; land and water; day and night; restlessness and tranquility; the alternation of these elements and The emergence of the drama promotes the contradictions of the drama, and a series of contradictions intensifies this explosion of energy.

Symmetrical composition is used very frequently in this film, whether in the head-shaving scene or the wedding scene, especially in the shooting of buildings. Symmetry, closure, and depression can be seen everywhere. , awkward and neat symmetry. From the image, you can feel the depth of the closed nature of Bailuyuan and the great oppression on people's thoughts and spirits. There is a unified tacit understanding between the image and the theme. In addition, in the courtyard of the Wuju family, there are four people playing mahjong, two maids, and two artists singing and singing. The composition is seamless and symmetrical, creating a harmonious calm and closedness. At this time, Heiwa enters the picture carrying water. Walking past the courtyard, a seemingly simple shot is the foreshadowing of a hidden mystery. The arrival of this passionate man will completely break this closure and symmetry, which is the liberation of human nature and the advancement of history.

The diagonal composition can be seen everywhere in the film. Zhaopeng and his father are quarreling in the new house. There is a diagonal line between the bride, Zhaopeng and his father. The bride on the bed is obviously in a lower position. , there is nothing to do but cry quietly. Zhaopeng in the middle represents a new force that is growing, slowly awakening, maturing, and competing with the old force at a speed that cannot be ignored. Hei Wa squatting on the stage, Xiao'e sitting on the stage smoking a cigarette, and the maid behind him also form a diagonal line. The director's setting implies that Xiao'e is the leader in this erotic chase. Her initiative to seduce Hei Wa is a woman's instinctive impulse towards male reproduction, breaking the traditional consciousness of male sovereignty.

If the framing of the composition and its potential for tranquility and movement can be seen as a model of organizational cultural conflict, then the significance of these compositions suggests the film's focus on lust, chaos, reproduction, tradition, Feudalism, the complete openness of nature, reflects the entanglement and confusion between the characters in the composition, and the dependence between the characters and their environment, which is either closed or open.