In this slow narrative, there is no nonsense message in the whole film (except for Da Qiu's family and the boy who kept having ambiguous fights with him). The camera is constantly pushed and pulled, as if the physical distance between the two people fluctuates, and the camera pans back and forth not to care about those people on vacation, but to buffer the composer's absent-mindedness. The primitive desire in his heart to spy on the pure beauty of the youth and the impetuous desire for youth prompted him to smear white powder, build a beard, and put on lipstick to pursue this ultimate beauty. After all, this is the regret of the artist's self-salvation. This kind of thinking in the early stage can be equally replaced by the cautiousness and temptation of girls in school days when they see the opposite sex. The other man who quarrels with is the other self who is externalized inside. He constantly analyzes and struggles with himself, explores the extremes of art philosophy, despises morality, but on the surface he hopes to find a balance to survive. Death) The logic of the characters is very good. For example, staying in Venice is not just because I want to see beautiful boys. The ultimate beauty and longing are untouchable. Da Qiu slowly walked into the glittering sea, pointing in any direction, which became the last beautiful moment of his intracranial orgasm in his life. This is a film with too much self-consciousness. It is different from the so-called "same-sex films" in the past (love has nothing to do with gender, and there should never be a same-sex category). The two have no dialogue, no physical contact, and no love. After the injury, the separation is quiet and painful. (Touching Da Qiu's hair in self-infatuation is so exciting..) But the emotions quietly pushed to the climax as Da Qiu walked into the sea, and the young man he could never get stood quietly in the distance from him. in front of...
I can't stand it anymore....
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