Farewell My Concubine is the fifth film directed by Chen Kaige. It chooses the Peking Opera art with the deepest cultural accumulation in China and the artist's life, and shows the thinking and understanding of traditional culture, people's living conditions and human nature in detail. It is one of the most successful representative works of filmmakers from three places across the Taiwan Strait, and it is also a model of China's films that appeal to both refined and popular tastes. The film passionately tells a story that lasted for half a century. The emotional entanglement between two men and one woman and the conflict between homosexuality and heterosexuality show the versatility and richness of people in the disaster period of role dislocation. It not only has a deep sense of history, but also shows the joys and sorrows of little people with the historical development of China for half a century. It has both delicate male friendship and an epic pattern.

Farewell My Concubine was originally a historical story, but here, it has evolved into a blood and tears in the pear garden, a breath in the pear garden, a picture of the times and a mark of history. The hero has also changed from two spoony men and women to two overlapping men-Duan Xiaolou and Cheng Dieyi. He is a flower face, he is a Tsing Yi, his perseverance and gentleness, his lips and kisses are firm and solidified, his eyes and eyebrows are full of love, he is an omnipotent overlord, and he is an immortal concubine. Maybe nothing, just that desolate gesture-the last scene before dark is gray-blue, an affair of that particular era, and a legacy of those beautiful women drifting with the wind. ...

Chen Kaige's choice of Peking Opera art with the deepest cultural accumulation in China and the artist's life to show his thinking and understanding of traditional culture, people's living conditions and human nature is very ingenious and original. Farewell My Concubine digs deeply into China's cultural history and humanistic heritage, with gorgeous pictures, delicate plots, richer connotations and deeper screen image.

Well, although it is based on Chinese as a whole, I find that there are great differences between them. As far as film and television are concerned, the form of Hong Kong films draws lessons from western media, and the content is true. Subject to administrative restrictions, the mainland will tend to be harmonious and more reflective of reality, but there will be deletions and additions. The cultural atmosphere is pleasant and solemn.