"Flowers" really took three years to grind out the "light", front light, side light, top light, low light, backlight, flash, blurred light...... All the light is based on a black background + brown background, so that the characters and scenery highlight a sense of heaviness, focus and chewiness (chewy), and countless interludes seem to dig many "holes", just like the neon lights flickering above in the TV series, and the gray pits and potholes in the roadbed below. There is a scene that has two more interludes in the flashback, and repeats the shots, such as: Reiko's shop renovation, first the first to rent a shop for decoration, Po wearing a paper hat to participate in the decoration, and then renovating, to the scene of decoration. In addition, "Flowers" uses numbers, words and classic old songs as a reminiscence to pave the way and arouse the audience's emotions. The director pursues a unique effect in the details of the plot structure, and puts real effort into the antique light and shadow, widening the distance between the plot narration and the sense of the picture from the domestic TV series, and sticking the label of director Wong Kar-wai with heavy makeup (I feel that some places are too much).
