From the emotional point of view, the film does not have the violent sprints of traditional inspirational films from low to high, or the "familiarity" of artificial incitement, nor the "astringent" of literary and artistic films that fluctuate in madness and speechlessness. For example, the neighbors have a drink in a scene, with few lines and slow rhythm, and they are all common affairs, but in the years like water, such chats and piano sounds seem to be forever and endless. Until you can go out, you will be like Monte, as if you have realized it, and feel nostalgic. From the lines to the story, from the camera to the actor's expression, it is light and soft, spring cooking green tea in pale white and light green, completing the perfect vector between restraint and maturation.
The film has been describing, telling, not instilling. And it finally reached a height that the so-called inspirational film is difficult to achieve: if there is no love in the end, he will feel that the old writer can complete the anchor again. Without the little romance with the beautiful neighbor, he will also have other ways to gain his heart. Harmony; even a step back, even without this pale blue island, without a summer’s music and waves, the injured will eventually be redeemed. Because in the end, what it brings to people is a kind of peace from the heart, and with this quiet power to overcome a certain kind of sadness in life.
