This German film, or perhaps West German film, is a fairly successful film in terms of ideological stitching. The film takes the life story of an East German family from 1989 to 1990 as a clue, showing the mentality of the East Germans in this huge historical moment. As a story, its dramatic plot is clearly divorced from life, so it reflects neither the East Germans' enthusiasm and welcome for capitalism, nor just their humiliation and sadness at the time of ideological disillusionment. It is the East Germany in the eyes of West Germans, and it is the East Germany that West Germans, who have the priority to speak in a culturally and economically "divided" Germany, are eager to see. The purpose of filming such a film is obviously to integrate spiritually, but in this integration, West Germany is the complete subject. The protagonist of the film is a boy named Alex. When he was a child, his father defected to West Germany, and after that his mother took him and his sister to live in East Berlin. After his father defected, his mother became a social activist and received various national honors. In the autumn of 1989, my mother saw her son being taken away by the police during a demonstration of the people fighting for freedom of the press. The mother was on the street in great fear and fell into a long coma. Interestingly, the mother did not witness the fall of the Berlin Wall. Her coma lasted 8 months later-at that time Alex had changed from a national worker in a TV repair shop to an employee of a capitalist TV company, and her daughter had arrived. Burger King works. With concern for his mother, Alex worked hard to create the illusion that nothing had happened, and thus led to a series of comedy plots. But my mother finally witnessed Lenin's statue being hoisted from the ground by a helicopter and flying in the air. The once idol then became the center of the comical scene. Towards the end of the film, the mother confessed the fact that her father defected. In fact, their plan was for the father to flee first, and then the mother to take the child to West Berlin, but the mother stayed because of fear and protection of the child. It is conceivable that the mother became an active supporter of socialism out of the same mentality-everything is just a statement. It's tempting to think, why is the mother who stays and the father who escapes? The gender issue once again reminds us of the eternal theme in Western movies: the relationship between father and son. At the end of the film, my mother died. Alex's voice-over said that whenever he remembered the past, he was connected with his mother. Here, the mother became a symbol of East Germany-the image of a dead woman. West Germany is male and fatherly. When Alex and his father reached a reconciliation, the reconciliation was not only the father-son relationship, but also the ideology. After that, Alex really accepted the fact of the unification of East and West Germany, and before that he had been actively arranging an imaginary East Germany that still exists for his mother on the TV screen. As the subject of ideology, West Germany is represented by the father in the film. In this sense, this structure of the film is a reproduction of cultural "Orientalism": the political and cultural East—East Germany—is inevitably "feminized". The film ends on the anniversary of the reunification of Germany and Germany, and the brilliant fireworks obscured other facts. There are only people celebrating freely in the camera, but there are no people who are unemployed and downhearted because of this overwhelmingly successful unity of West Germany. Unity becomes all brilliance and glory. The death of the mother easily solved the film's narrative problem. If she is still alive, how will the story continue? Can the historical rift of a nation-state be sutured by a melodrama? It is a pity that it is no longer possible for the East Germans to show us their psychological history in the way of film production. There are still some things left in the socialist country that collapsed overnight—such as the Pokka cameras and Pan Taikang lenses in the hands of photographers—that remind us of its real existence. In addition, silence replaced some Unhealable scars in people's hearts. The sad thing about the weak is that they cannot be completely forgotten by history, but they have to watch their stories be told by the strong. After all, the German film producers and the general environment have this ideological consciousness to produce such films. This must be the long-standing requirement of those turbulent undercurrents. Even just a piece of icing can soothe the trauma of history in an instant. Only by facing it squarely can the wound be healed, even for the victors in history. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. The death of the mother easily solved the film's narrative problem. If she is still alive, how will the story continue? Can the historical rift of a nation-state be sutured by a melodrama? It is a pity that it is no longer possible for the East Germans to show us their psychological history in the way of film production. There are still some things left in the socialist country that collapsed overnight—such as the Pokka cameras and Pan Taikang lenses in the hands of photographers—that remind us of its real existence. In addition, silence replaced some Unhealable scars in people's hearts. The sad thing about the weak is that they cannot be completely forgotten by history, but they have to watch their stories be told by the strong. After all, German film producers and the general environment have this ideological consciousness to produce such films. This must be the long-standing requirement of those turbulent undercurrents. Even just a piece of icing can soothe the trauma of history in an instant. Only by facing it squarely can the wound be healed, even for the victors in history. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness. The death of the mother easily solved the film's narrative problem. If she is still alive, how will the story continue? Can the historical rift of a nation-state be sutured by a melodrama? It is a pity that it is no longer possible for the East Germans to show us their psychological history in the way of film production. There are still some things left in the socialist country that collapsed overnight—such as the Pokka cameras and Pan Taikang lenses in the hands of photographers—that remind us of its real existence. In addition, silence replaced some Unhealable scars in people's hearts. The sad thing about the weak is that they cannot be completely forgotten by history, but they have to watch their stories be told by the strong. After all, the German film producers and the general environment have this ideological consciousness to produce such films. This must be the long-standing requirement of those turbulent undercurrents. Even just a piece of icing can soothe the trauma of history in an instant. Only by facing it squarely can the wound be healed, even for the victors in history. There is no nostalgia for the past in this movie, but it evokes my deep nostalgia for socialism. When Marx became an inexplicable "ghost" and Lenin became the object of being said goodbye, I inevitably fell into a kind of imaginary homesickness.
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