In Sweet Honey, Li Xiaojun visited his menstruation home for the first time. The scene is a typical Hong Kong residence, cramped.

When the camera can't be turned on, the director sets up a mirror in front of Li Xiaojun, and juxtaposes the photos around Li Xiaojun, aunt and dressing table through specular reflection.

It not only clearly explained the relationship between Li Xiaojun and his aunt, but also laid the foundation for later revealing the relationship between his aunt and the people in the photo.

The first thing Li Xiaojun did when he came to Hong Kong was to witness a long and unforgettable secret love in front of the dresser, which also indicated his indissoluble bond with Li Qiao.

The juxtaposition of all these important elements is due to the role this mirror plays here. At the same time, due to the narrow building space, using specular reflection for scene scheduling is also a common scheduling method for many Hong Kong films.

Another classic mirror application in Sweet Honey appeared in the scene where Li Qiao and Li Xiaojun asked Teresa Teng to sign on the street.

The lens simulates Li Qiao's subjective perspective and looks at Li Xiaojun in front of the car. The word "Teresa Teng" on the clothes kept reminding her that it was a secret symbol of love between them. At this time, the camera is turned upside down and aimed at Li Qiao's face in the rearview mirror.

At this moment, the two people who had hidden their feelings finally revealed their feelings and faced each other.

The effect of mirror reflection juxtaposing the front faces of two characters is far better than the emotional power that can be carried by overlapping the back faces. Using mirrors to schedule scenes like this is the application of mirror elements in film technology.