Film criticism of wind kicking.

The film tells the story of Feng Feifei's Xing Hui and Chen You's Hong Kong advertising director Luo Zai going to Penghu to shoot location. Xinghui, who likes photography, was attracted by the scenery of Penghu and the simplicity of the blind Jintai played by A B. Fortunately, Huihui and Jintai, who have regained their sight, have a good impression on each other and fall in love. After many twists and turns, Feng Feifei finally chose Jintai on the eve of her engagement with Luo Zai, who lives together. In this film, Feng Feifei is an urban woman who is independent from her previous role, but still has a strong local flavor. Through Starlight, Hou Hsiao-hsien successfully challenged some illusions of social reality that were constantly copied by the media.

Like the last film, although the main story takes place in Taipei, the film still leads the audience to Penghu, an outlying island, and Lugu Village, Xinghui's hometown. The camera also deliberately presents the local people and scenery. This love movie is also interspersed with close-ups of innocent children, which should be centered on two male and female protagonists. Moreover, the number of times the characters in the film need to go to the toilet has also increased significantly. Almost all the characters except Xinghui have scenes of going to the toilet. Especially when Xinghui's father appeared, he was in a hurry to go to the toilet. While walking in the park, Kim Tae and Xinghui suddenly entered the public toilet, not to mention that at the beginning of the film, Luo Zi turned his back on the audience and peed behind a huge stone in the foreground, while Feng Feifei came slowly. However, Kicking the Wind has higher formal consciousness and social criticism than She's Walking. First of all, although the blind man played by A B seems to be too beautified, the film inserted a fragment similar to the documentary of Taiwan Province Rehabilitation Institute for the Blind through him; Under the presentation of small close-ups, the audience had to face their real existence. The difficult living situation and social problems of the blind did not disappear in the narrative because of the cure of Kim Tae-tae's eyes. At the same time, Xinghui is not a jade girl, nor a vase character who pursues love every day and can't see the pressure of real life. Instead, she played body double of film director Hou Xiaoxian. When commercial films are full of fake scenes, she carries a camera on her back and holds a camera on the streets of Penghu or Taipei, hoping to capture the real face of life and shoot "a series of lifestyles". Through her perspective, Hou Xiaoxian presented many candid shots.

Xing Hui's independent and informal character made her female role break through the traditional image of women in romantic movies at that time, which was almost the most positive female role in movies at that time. When Xinghui was a substitute in primary school, she not only changed the official lyrics of graduation songs into fruit snacks in daily life, but also ignored the instructions of the principal to draw political slogans and led students to draw underwater world, which also implied the criticism that authoritarian politics distorted people's thoughts and lives during the martial law period in Taiwan Province Province. In the relationship between men and women and marriage, she also showed a completely different attitude from the general romantic movies. She was gradually attracted by Kim Tae-tae, and the process of finally falling in love was not dramatic. In the end, the film did not emphasize that the two would never change their feelings. At the end of the film, Kim Tae-tae finds out that Xinghui has left with Luo Zi for her own wedding anger, and that Xinghui and Luo Zi are going to Europe soon, leaving a letter, hoping that Kim Tae-tae can believe that their feelings are true. At the end of the film, although Kim Tae arrived at the airport at the last minute, Xinghui emphasized in her letter that this trip to Europe is her "personal" dream, which is different from going with him in the future, while Luo Zi still travels together. Therefore, the relationship between Kim Tae and Xinghui can still be said to be ambiguous to some extent, and she may still change.

In addition, the beginning of the film shows the process of Luo Zi's filming of Brandon's washing powder advertisement, suggesting the late setting form adopted by Hou Xiaoxian in Dream Life and Good Men and Good Women. After the movie started, the audience saw a firecracker in a pile of cow dung on the ground, and a group of children were hiding next to it, trying to play tricks on passers-by, but they were accidentally blown up. As a result, Luo Zi suddenly appeared as a director, and the audience realized that what seemed real on the screen was actually just a movie being filmed and a well-arranged performance. Hou Hsiao-hsien's process of revealing the film's construction of reality actually means kicking the wind, acknowledging the falsity and constructiveness of the film, and telling the audience that real life must actually be filmed through its own lens like Xinghui. This awareness of the film's own media appeared slightly in the previous film "She is Walking". This is a joke played by Hou Hsiao-hsien to the audience through editing skills. On the screen, Feng Feifei went to visit her aunt in the country and shouted at her from a distance. But through the positive and negative shots, the camera made the audience mistakenly think that her aunt was a passerby played by Ling Feng until they crossed each other on the screen. What this post-setting form reveals is Hou Hsiao-hsien's extreme respect for "truth" and the limitation of his own reproduction.