In China, talking about youth is always a popular discourse, but it is also an embarrassing topic. Because when we should show off our youthful demeanor, it is precisely when we sprint in the examination room. Therefore, the principle of class-centered life, with the two basic points of problem solving and endorsement, runs through the life of youth and replaces many other beautiful life items, such as love, travel and sports. In the eyes of parents, teachers and the public, a failure in learning is not qualified to enjoy life. Only when you are admitted to a university, preferably a famous university, will you have a relaxed opportunity. Therefore, for young people in China, only those who have obtained the college entrance examination can gain youth. In this way, film art, as a record and expression of life, has no place in the field of youth, because there is no love, no adventure, no art and no movie story to tell. For a long time, domestic youth films were a desert. Up to now, the film that I can clearly remember reflecting the life of middle school students is Lv Le's Thirteen Paulownia.

Liu Jie's youthful style may change this situation. This is a real youth movie, which is different from Zhao Wei's To Youth and Chen Kexin's Chinese Partner. The latter two are actually "nostalgia", talking about the youth of our predecessors, not our youth. "Youth Style" directly faces the general living conditions of our current high school students, without inspiring beautification of this depressing situation, and even without touching the criticism of the education system. Instead, it shows us the true inner world of young people in a very pleasing, smooth and not sharp way. What we learn from it is unspeakable sadness and inescapable confusion. Therefore, what movies really want to talk about is not youth, but our desire for youth.