The first scene of Zhang Ziyi's directorial debut shows his ambition to make a good film. The complex narrative mode in the whole chapter of The Poetry tells a simple story about love, sacrifice and ideal, which is reversed but not abrupt.
A bright line is the growth line of the narrative subject "I", and a dark line is the story line that my father sacrificed his youth and even his life in obscurity in order to realize China's space dream. The two story lines meet at the point of rocket fuel development, and this story is derived. I agree with the cinematic nature of this poem because its expression is cinematic.
Through montage, the launch of Dongfanghong satellite and the flying of female astronauts were cross-edited, and the dreams of two generations merged and stirred in space. In the last less than a minute, Zhang Ziyi's mother and Huang Zheng's father walked hand in hand through the four seasons in the desert. And "poetry" itself has also gone through the interaction between the two.
Most importantly, there is no flat "tool man" in this chapter of The Poetry. In the limited space, Zhang Ziyi, as a director, described different roles from different angles as much as possible. For example, the young man's biological father only appeared for 30 seconds, but he was not a simple workaholic, but he couldn't let go of his work, worried about his children, and was afraid of causing trouble to his colleagues, and finally died for his career.
There is no slogan grandstanding, and the silent warm current is enough to impress the audience. Telling a story to the camera, rather than forcibly transplanting your own ideas to the audience, is the consciousness of a mature film director.