A dilapidated house gathers a very different group of people, living together day and night, everyone is an edge in it. Mills goes straight to laying out the macro state and nuanced individual form of the entire group from the start. Dorothea, who has rich experience in life, is open-minded and kind. While exuding the brilliance of motherhood, she irresistibly creates a gap with the young society. She listened to Louise Armstrong's jazz, Jamie to punk, and the two were like two incompatible music, the melody never resonated. The completely different personalities and experiences of the five people are bound to generate various frictions. Mills laid all kinds of frictions on the extension line of the plot. While keeping the group portrait full, he continued to analyze its interior. What he saw after digging was Various colors. The communication of ideology is brought to the screen through the process of contradiction. Everyone has different positions and different growth stages. The images created by age and background provide rationality for various incompatibilities, and because of mutual desire for understanding and tolerance. Knead it into a rounded group. In this angular group portrait, feminist consciousness and personal consciousness act as the internal driving force of some characters' actions, stirring and pulling the uneven attitudes under the colorful lens more and more tightly. The brief fusion of the skateboard and the car seems to be the brief gentleness between the edges and corners. However, in this large group portrait, there are always sharp edges and corners, and finally go their separate ways.
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