Acting
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Throughout his campus life, a primary school student from the Yao ethnic group on the Sino-Vietnamese border slipped through a chess game indifferently and then took the initiative to join the game. He was not very interested in Go at first, but in the end he seemed to like Go again. This process seemed to be dark humor and destiny. At the beginning of the film, bursts of garbage are burning on the campus, and waves of fog are rising. People and people, like this garbage, are also burning energy for unknown reasons, but they are all left on this uncared-for border
The film takes a transnational marriage family in Najiaotun, Nalong Village, Baisheng Township, Napo County, on the China-Vietnam border as an example, explaining that the border is a geographical boundary rather than an emotional boundary. In the turmoil of the country, emotion is the best weapon to isolate the turmoil. Faced with the current situation of the COVID-19 pandemic, although Vietnamese woman Lu Tingmin cannot return to Vietnam, she laughs at life with her Chinese husband and daughter, faces various unfair policies, insists on walking together, bids farewell to the winter of 2020, and welcomes the spring of 2021. This is not only a small family saying goodbye to the old and welcoming the new, but also a big country saying goodbye to the old and welcoming the new. In the rolling tide, the country takes the family to move forward together, and the country continues to influence the family as it moves forward.
At Zhuzi School, Liu Feng, homeroom teacher of Grade 1 Class 6, and parent Mu Ren develop a learning system beyond the “Hengshui Model,” focusing on students’ body, mind, and brain. Opposing exhausting competition and utilitarian education, they advocate respect and space for healthier, more balanced high school development.
In a Yunnan border village, soldiers, police, villagers, and volunteer teachers live parallel lives around a school—until the pandemic intertwines their emotions and routines, creating fleeting, mysterious connections.
Before and after the release of the new crown epidemic prevention and control, the two elementary school students on the Sino-Vietnamese border experienced the plight of the times behind the world of the same age and the daily trivialities of the adult world. Becoming a reporter, the two intersect in interviews in their parallel lives, observe the adult world and the world of the same age together in their own observations, and tell about their growth.
This film tells the story of Liu Yifan, a Yao student on the China-Vietnam border in Yunnan, and Yang Yankai, a Hani student, before and after the relaxation of the COVID-19 epidemic prevention and control.
In Gui or Tuen, Village Gui or Tuen, Baisheng Township, Gui Liu, Napo County, on the China-Vietnam border, a traditional folk wedding of Lan Indigo Yao is about to be held, with changes and changes all in it.
The war history and family life of Nong Jianzhong, a Zhuang Vietnam War veteran, have exposed a lot of absurd political lies. The emperor's new clothes will eventually be revealed to be a farce. The lonely sail has landed and is independent. Everything is empty. The grandson represents the future, the old man represents the past, and the lies of authoritarianism have persisted across generations and have not disappeared. He was full of revolutionary feelings, nostalgic for the past, and recited revolutionary songs. However, after demobilization and return to his hometown, he was "oppressed by revolutionary comrades" due to the family planning policy. Some anti-party elements transformed into revolutionaries and occupied high positions. And the vast number of ordinary combatants he represents have been forgotten by the country, society, and families. He is contradictory and tangled. He recognizes the Communist Party but is dissatisfied with the Communist Party.
