What did "dear" say?

The story mainly takes place in Shenzhen. From the beginning, it was a damp and dim picture of a village in the city, with interlaced network cables and wires and dense cottages. Tian Wenjun came to a big city from his hometown of Shaanxi to make a living. He rented a shop in a mixed village and opened an Internet cafe. He has been living as a husband and wife by allocating a house. Finally, his wife JODY divorced because of emotional breakdown, and his child Tian Peng was taken care of by both parties.

In the first few scenes, Chen Kexin presented a more realistic spatial picture of floating population entering big cities and living in urban villages. The village in the city in the film is actually in Guangzhou, not Shenzhen. But why should the story be set in Shenzhen instead of Guangzhou, which also has a large number of foreigners? Because Shenzhen is an immigrant city, some details and dialogues in the film reflect the characteristics of an immigrant city.

Tian Wenjun held his son in her arms and taught him Shaanxi dialect. "His big uncle and second uncle are his uncles." At this moment, JODY said, "Don't speak dialect, speak Mandarin." This is a portrayal of foreigners coming to immigrant cities to integrate into them, and perhaps it is also the director's ignorance of urbanization. Only Mandarin is the meaning of the common language in big cities. This simple dialogue appeared twice before and after the film, and I took care of these two times. For the first time, JODY asked Tian Wenjun not to teach children to speak dialects, but to speak Mandarin, in order to let them leave their hometown completely and integrate into big cities. At the end of the second time, it was Tian Wenjun who said this conversation. It also wants Tian Peng to forget its kidnapped "hometown" and get back in touch with life in big cities.

Li Hongqin is a tragic figure. A rural woman learned overnight that she turned out to be the wife of an individual trafficker, and her two children did not belong to her overnight. She came to Shenzhen alone to find a lawyer and wanted to get back the custody of the girl Ji Fang. Zhao Wei's interpretation of Li Hongqin is vivid and touching. Assaulting a police officer at a police station is because of sudden changes, which makes people unable to accept the reality that mother and daughter are forcibly separated. The director's schedule and the actor's performance are not out of control. As the second main line, Li Hongqin can be very emotional, but the emotional part is not too much. In one scene, Li Hongqin came to Shenzhen Welfare Institute to see Ji Fang, but was refused by the dean. At night, he climbed the water pipe to see Ji Fang through the window, and Xiao also cried for his mother. Finally, Li Hongqin was designed to be pregnant. The result of this reversal is mixed with Li Hongqin's opinion, but no matter whether this setting is more optimistic (Li Hongqin could have been pregnant and had her own flesh and blood) or pessimistic (pregnant outside the relationship with her dead husband's friends, and even unable to bring Ji Fang back), every audience should have their own views, which is also about some paradoxical relationship between family and blood.