Let’s not talk about the dream of Yunshan Mist. The narrative of this movie is very simple and clear. Luo Hongwu, who is amnesia, pursues the whereabouts of Wan Qiwen/mother. In the process of searching, he sneaks into the memory of the dead white cat (when a mudslide occurs). The white cat is in love with Wan Qiwen and fires on Zuo Hongyuan first to complete the murder of his father and marry his mother (perhaps unsuccessful).
There are three father-mother-child triangles in the film, Luo Hongwu's father-red-haired woman-Luo Hongwu, Zuo Hongyuan-Wan Qiwen-white cat, Luo Hongwu-Wan Qiwen-little white cat. The three fathers can be exchanged at will, as are the three mothers and three sons. So why is there a last long shot? Luo Hongwu unusually hesitated before firing on Zuo Hongyuan. What was he thinking at the time? He was thinking that he was just an agent, an identity. He cannot be peaceful in the endless cycle of killing fathers and marrying mothers, so he wants to sneak in at the winter solstice. He wants his mother to escape from his father, reconcile with the little white cat-his son, and fall in love with Kai who has not entered the father-mother-son triangle. Jane. Through this long shot, he tries to enter the cecum of time and become the real "I", not the father, nor the son.
To some extent, this is a reflection of the director's self-Oedipus complex, real and simple.
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