《归来》是吝啬的。它吝啬地淡化了背景,将某些“背后”剔除,而让叙事集中在一家人、一家人生离之后的“归来”上;它吝啬地使用故事,几乎仅留下了一个小小套盒里的细节,把太多的空白都剪在了外面;它还吝啬地用光,只让它投影在小半张脸上、头发上,而让更多沉浸于暗处。然而它是有力量的,它的力量来自于细节,来自于细节的张力——那种貌似的平静下面潜藏着一个巨大的涡流。 “Return” is stingy. It deftly smoothes the background, knocking out some “backs” and letting the narrative focus on the “return” after the family has left; it miserly uses the story, leaving only a small The details in the small box cut out too much of the blank space; it was still lightly used, leaving it to project on a small half-face and hair, leaving more immersed in the darkness. However, it is powerful, its strength comes from the details, from the tension of the details - the kind of seemingly calm under the potential of a huge vortex.