It's healing, and a film like this is detached and timeless. There is a kind of film that uses the most "dehumanized" lens to present a flow and movement of the world that may be completely unfamiliar before, without resorting to storytelling, reasoning or expressing some opinions, which are too human anyway. , and about people, there is not so much to say, and about meaning, there is too much, too much, too much. Anxiety about meaning is a disease, and healing occurs when re-examining the relationship between meaning and the world. Stop talking and asking questions! Silence, step back, just watch the world again! Just rewatch the world! This is a more restrained shot than Malik, Hou Hsiao-hsien, and Tarkovsky. There is no dialogue, only scenes, recordings and movements. As much as possible, the "people" and the presence of the director's will are weakened to the minimum, but through The angular movement and mise-en-scene of the shots present a new or at least unfamiliar sense of looking at the world and the intersection of the different movements of life in the world, trees, flocks, people, carbon, lambs, old men, towns and mountains with Lin, everything seems to be the same, and it is precisely because of this that the most subtle and simple moments in each circulation and movement record the meaning most vividly. At the end, everything seems to be like smoke and goes with the wind. Don't fall into this rhetorical trap, because smoke is never created out of thin air, smoke drifts out of the chimney, the chimney is in the house, the house is in the town, the town is in the mountain, the mountain is in the land...
Again, the best directors only need to speak with the camera, and only the flow of the camera can open up and blend with the flow of the world itself in the most unrestricted way...
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