"Clouds of Ma" uses highlights and saturated tones to create a pure and bright atmosphere. The rhythm of the human heart is also invisibly slowed down in these big perspectives, and life is dozing lazily in those still long shots. The characters in the film have a motive or desire. The alienation and even strangeness of the characters in the film is the accurate description of the essence of life in the film. The film did not intensify the drama conflict in order to increase the point of view, nor did it artificially raise the level of motivation of the characters in order to reflect the depth of thought, nor did it forcefully end with a reunion in order to soothe the audience. Even the few plot clues of the film did not have a clear result, but ended with the father leaning on the tree to sleep soundly, leaving an open space for imagination, allowing the complexities of life to be opened to the audience.
In fact, several characters in the film represent children, young people, middle-aged people, and old people respectively. They become metaphors for people's life in a way of intertextuality. The film seems to be full of meaningless details and empty shots. It seems that the fascination with nature is better than the attention to people. The capture of trivial movements of the characters is better than the analysis of the characters' hearts, and the restoration of the true nature of life is better than the life. The poetic imagination basically achieves a peaceful mind to pay attention to the customs of the hometown, but with a forgiving look at the figure of ordinary people struggling for large or small goals. The film presents the scenery of May in the hometown as poetic and picturesque, so that both happiness and sadness are staged in a forbearing and restrained manner, and even the many unsatisfactory things in life are turned into gentle touches under the blowing of warm wind.
Of course, when the film feels good about itself in the prose style and poetic sentiment, when the many modalities of life are presented quietly, it may also make the audience weaken the intensity of rational thinking in the slow rhythm and stagnant life flow. Moreover, due to the accumulation of life-like images, the audience has only a hollow and vague impression of the characters. For example, Mudhafi is more like a symbolic character. The audience's evaluation of him is extremely ambiguous and dilemma. They don't know whether to recognize his dedication to art or be disappointed in his chaotic and disorderly life plan. As for Mudhafi's assistants, they appeared abruptly, and his charity to Ali was completely unprepared. These problems can only be explained by the pros and cons of choosing the poetic style of the film.
