Imagine the white camellias on the hillside, blooming in the dewy night. It is like a kind of vastness that emerges from the branches in the dark, silent but breeds infinity, just like poetry in a movie, poetry is like a movie. He is a film director, a well-known Korean director, and also, or should be said, a poet who writes poems on film, a film poet - Lee Chan-dong. The title of one of his films is called "Poems"; or it can also be called "Poems of Life" (the official Taiwanese translation is "Poems of Life", and the Taiwanese translation name will be used below). The poet Liao Weitang said in his text that Li Yandong's film, he thinks the best is "Poem of Life". This is not because he is a poet, but he does so; it is just that poets, perhaps, for the poems in the film, there will be a poetic artistic conception that comes from the images, which in many cases transcends the lines of poetry lying on the paper -
just words. However, I feel that when I say this, I cannot help but cater to the realistic needs of artistic expression. Everyone in the world knows that the decline of poetry is no longer a one-time event; if it continues, there may only be a pile of corpses of poetry left, disappearing in the cold in the wilderness! Li Yandong also conveyed such a message in "The Poem of Life". He takes a very communal progression, dealing with an unusually heavy sense of life, covering: death, emptiness, darkness, and beauty that will never and will never fade away. This is the poem itself. Therefore, in the semantics of Korean, poetry also has the meaning of sailing against the current. None of this can be ignored. At the beginning of the movie, in a cloudy river in the afternoon, a corpse of a wedding photo retouching services woman wearing a school uniform floats in the water. A child, from far and near, felt the ominous after playing on the sandy bank of the river. The natural environment itself is the witness of bad news, but also the carrier of eternal circulation. I believe so, how poetry sails against the current, parallel identification and confrontation with cruel reality. Poetry, in this way, becomes the subject of a film. She, with a double identity, is attached to the heroine Miko: a grandma who always dresses herself up decently and expresses her dignified beauty. At first, she was working as a home caregiver, helping a stroked elderly man called the president to cook his daily meals and drinks, and had to take a bath for the president. When the old people meet,
they first use the old man's bounty to express the control of the male society in the out of control in the feedback of being cared for by the sick and unwell. This matter will continue. Just when Miko talked about the female corpse floating in the river and expressed her indifference and concern about keeping a distance between people, the other women in the convenience store seemed to hear the old man's nagging in their ears. , no one heard. However, this indifference hides a larger whirlpool that is out of control. Next, we saw that after Meizi returned home, there was a grandson who played badminton with her; an adolescent child who went to school on the same campus as the girl's corpse floating in the river. The girl was from the country and the school said she committed suicide. Why? The potential danger is: she was raped and murdered by five teenagers; the school intends to cover up the murder with compensation. Five teenagers, five parents, four boys and one girl, the girl's parent is Meizi, Li Yandong's lens, in broad daylight, in the school's office or in a parent's common office, let each parent gather 50 10,000, put them together and hand them over to the teenage mother who farms in the countryside. Therefore, the out-of-control whirlpool expands into murder; the way of control hides the greed, deceit and power of people and society. At this time, the darkness of the superficial social interaction world is submerged under a false normal system, and another "beauty" that exists deep in the human heart is willing to escape from the darkness and return the ugliness to the already ugly society at that time.