A Yang Pingdao Film

Follows a big star who brings a film crew to her remote hometown for a shoot, and while the production is afflicted by disagreements between the crew, a bored local restaurant owner finds excitement to be the stand-in for the star.

Wu You is as carefree as his name suggests. He is single and lives with his nearly 70-year-old mother Zhang Baoxia. He joins an organization called Sunshine Club and becomes a senior partner, but his mother suddenly falls ill.

In a last-ditch attempt to revive their relationship, writer Su Dong invites his ex-girlfriend Zhao Ying on one final trip, planning to woo her at the site of a mythical tree that blooms only once every 100 years. Zhao begrudgingly succumbs to Su’s pestering, but unbeknownst to Su, she has also invited her new fiancé, the older and seemingly dim-witted Gu. Growing increasingly jealous, Su makes Gu his unwilling rival. Between long, arduous hikes and over-the-top romantic gestures, Zhao remains unimpressed. However, an uncanny friendship forms between the two romantic rivals, until the trip takes a sinister turn that eerily mimics the plot of Su’s latest novel.

Yang Pingdao invents something poised delicately between fiction and documentary to capture crystallized moments in his family history, to recreate in cinematic form its emotional weight and variety, woven around the life and death of his grandmother, and the birth of his child.

In southern China, a nervous city woman appears in a remote rural village, to go to her ex-boyfriend’s grandparents’ house to find him. The locals hardly respond to her loud, rude behavior. She can’t find her boyfriend but she finds out the secret friendship his grandfather has kept for 60 years.

The sagas tell that E Huang was the hometown of gods. Then they left, and human beings come with pollution. Several stories are told about the young including son of a boss, worker, college girl, triad, jobless gambler, and policeman who live in a small town. The ties between them and the socie-ty remain strong but that only leaves them limited op-tions: either es-cape, or drift through lives.

Male A’s girlfriend was drowned, and he seemed indifferent to his girlfriend’s death; his good friend male B went to visit Male A immediately after returning from the army to comfort him, and at the same time reluctantly asked: Why didn’t he reply to his letter later?

As the question goes, this is the daily life of a grass-roots cadre. The day is white and the night is black.