In any case, the amazing world has successfully translated Yu Xiuhua's poems in film language. In the director's words, there is no need to present her poems in Yu Xiuhua's documentary, because her poems come from life and are her inner cries. In this way, I studied her poems in the early preparation, that is, I studied her people, her mentality and everything around her. Of course, the director also has high requirements for images, and strives to be perfect in composition and color, especially in the connecting shots without fierce conflicts.
But what really makes this documentary "poetic" is the director's active use of poetic tools such as images and metaphors, and his emphasis on artistic conception. A series of images of fish and water in the film are not only pleasing to the eye, but also the concrete expression of Yu Xiuhua's real situation and mood. It is trapped in the lotus leaf or dying on the ground, and finally gets free in the form of death. Water is a symbol of women's desire, which is constantly reproduced through images and sounds. Is a strong desire, can not find the export of oppression and inner waves. Gee, I thought I heard you say, "This film critic is talking nonsense again". Hehe, these two images are set by the director himself.