Sex, Dream, Love Trilogy: Dream Drømmer

Breaking many so-called drama paradigms, the bold structure, contemporary story, and high-concept setting are extremely calm and meticulous. It is worthy of being a script written by a novelist. The whole script is narrated but there are rich and interesting details everywhere. It is hard to imagine that a 60-year-old author can write such a script that is essentially a growth story so real and tactile. The wonderful structure makes every subtle reversal as accurate and effective as thunder. The most amazing thing is the role of the mother and grandmother, which completely avoids the functional clichés, but can be comparable to the profound miniature picture of Ceylon with just a few strokes. The generational gap, the essential loneliness, and the absurdity of politics all give the story depth, but they are all suddenly dissolved in a postmodern way in front of the girl's pure and primitive dream of love. The answer to the film is also hidden here. After two hours of dream talk, the ending point is similar to CMBYN: whether it is love or pain, you have to experience and feel it. Face it honestly and be obsessed with it. (It is much better than the first one)

Juxtaposed with the delicate and sensitive profile of the girl's psychological activities throughout the film, there are still multiple sets of opposing concepts - the budding and abortion of love, the confrontation between kinship generations and social identities, the ups and downs of character relationships and the instantaneous facial emotions/body posture energy, the literary processing of life and the unpredictability/reproduction of immediate feelings, which even make the protagonist's true feelings become a kind of 'borrowing the topic'. The balance of tone has reached the best of the trilogy. What needs to be discussed is whether we need such a calm and distanced sociological observation as an example of emotional samples, or whether we are willing to believe in a kind of 'bias'."

It's so delicate. I can't understand how it's filmed and written so well. I empathize with the heroine in every plot... Because I think memories will always be blurred, I want to use words to describe every detail most accurately. After processing 95 pages of text, I looked at my first love from a third-person objective perspective and found that she was just an ordinary piece of shit like anyone else. So the story became a book and was published. Those private plots suddenly no longer belonged to me alone, so all the memories became strange, as if they didn't happen to me. Finally, I realized that the psychologist, like everyone else, still couldn't empathize with me after I confided in him. Then summer came, ushering in the blue sky and clear sun. This is what growing up is like. The beautiful girl's thoughts and secret love are first reviewed repeatedly in memories, and then become a small fox USB flash drive that you carry with you. In the end, they can be discarded and forgotten, and you can finally sit down with the imaginary rival you once hated and drink a cup of coffee together. The chattering narration is like a lingering thought, memories and reality go hand in hand. I was so tired when I read it halfway, but I still kept crying in the end. I am also like the heroine's mother-in-law, sighing outside the screen that it is good to be young and loved. 'If you dream about something during the day, then the mother-in-law must dream about the poems she has not written every night.'

A sentimental and heart-warming movie. Starting from the vague sexual awakening of a 17-year-old girl, she experiences an imaginary love, transforms the imagination of love into literary creation, and 'reconciles' with herself through narration. But perhaps more interesting is how this dream enters into the dialogue between the mother and grandmother of three generations. The kind of spring dream of adolescence seems to have inspired the 'dream' of the mother and grandmother, and finally brings out a new perspective from the projector of the spring dream. The lines in the film are quite dense, but it is not very different from the films of Rohmer and Hong Shangxiu. The viewpoint of the film itself starts from 'I', and a lot of first-person narration is used, but in the narration of the events, it bypasses the seemingly core 'love story', but first explains the beginning, then jumps to a year later, and then looks back on the past in the continuous dialogue. This seems to be a very interesting way of telling a story, and the narration itself is powerful enough. It is better to say that this is a process of examining the story. But perhaps such treatment would be a bit too literary, and too direct psychological description lacks the sense of cinema, and is more like looking for pictures for the text. However, the film actually easily bypasses those grand issues in those works that once won the highest awards. Whether it is women, homosexuality, or religion, they all become background and object