I don't sell my body, I sell my uterus.

In this film, the female characters go through hardships, but at the bottom, they have the sacred glory of the Virgin Mary. On the contrary, men are reformed believers, from the initial efforts to the final awakening. Humorous Cantonese dialogue and faithful restoration of ordinary life make the film a "Hong Kong people's film".

Since Hong Kong filmmakers began to cooperate with the mainland and linked the distribution system to the mainland market, they have watched all kinds of bizarre films, which have lost their original Hong Kong flavor and cannot reflect the current life of Hong Kong people. Only those Hong Kong films that have not considered screening in the Mainland can retain a little originality. Qiu Litao's "decameron, a Sex Worker" has been well received. This "I don't sell my body, I sell my uterus" continues to pay attention to women at the bottom of Hong Kong society, not only involving sex workers in Zhan Jie, but also exposing various problems arising from the marriage between mainland women and Hong Kong people.

Character design has a unique Cantonese rhyme.

There is basically only the heroine in the movie. Comparatively speaking, men's plays are all for women. Li Zhongzhong, standing in princesa, has always had some incomprehensible actions, such as raising dozens of chickens and treating them like relatives; I regularly put my work income into someone else's account, and I called several times in tears but didn't have the courage to talk to each other. A series of questions are all linked to the same mystery. When A Zhi, a photographer in the film, and his reporter friends intervened in the interview with sex workers, we gradually learned part of the story. The other part is revealed in the last hospital drama, which is a family tragedy related to literature and customs: harmony between genera. In Guangdong, especially Hong Kong, people's superstitions are more serious, especially the older generation. In the last century, almost every Hong Kong film had a similar shadow. For example, movies about gamblers or ghosts often exaggerate the situation in life, involving not only faces, but also feng shui and signs of life. Most family tragedies stem from the total acceptance of traditions that undermine human nature. The simplest example is the problem of giving birth to a man and a woman, and the difference between biological children and stepchildren.

The director revealed the root of the tragedy in just a few words. But he devoted a lot of space to Li Zhongzhong's daily life. The prostitute problem not only exposes some bad habits in Lingnan, but also the heroine Huang Lianhua is a unique portrayal of mainlanders fighting for the right of abode in Hong Kong around the millennium. The role of the Yellow Lotus is the contradictory embodiment of mainlanders fighting for the right of abode in Hong Kong. The director seems to have some sympathy for mainlanders coming to Hong Kong. If "Days and Nights in Tin Shui Wai" is only a portrayal of the life of Hong Kong natives, then the film has a broader perspective, not only including Hong Kong natives Li Zhongzhong and insurance guy Liu, but also many mainlanders who came to Hong Kong on the 28th and set foot in Hong Kong in various ways. Although it seems that separating mainlanders from Hong Kong people is different from the general direction of politics, the reality is that Hong Kong people still use language to distinguish people. Needless to say, Hong Kong is now Guangzhou, and there is still a psychological distance between Guangzhou people and the "northerners" in Guangzhou people's minds. On the issue of intermarriage between Hong Kong people and mainlanders, the film is branded with this cultural barrier.

Liu, the insurance guy, is a typical image of Hong Kong people striving for self-improvement. In other words, Huang Qiusheng is also more suitable to play this kind of white-collar class, and his image in The True Story of Old Port seems to be partially extended to this film. Although he has the distinction between Hong Kong people and mainlanders in his bones, he does not exclude communication with mainlanders, especially when he sees people who are beneficial to his own interests. Most importantly, he loves his hometown as much as photographer A Zhi. As mentioned earlier, in this tiny place of Korea, people love their homeland to the extreme, because there are too many invasions, and it is necessary to maintain the homogeneity of the nation. This land in Hong Kong is similar. It has experienced British colonial rule and Japanese occupation, and has a certain tenacity in maintaining the purity of its own Hong Kong people.

The dialogue is humorous.

Hong Kong movies can't be accepted by real Hong Kong movie lovers if they don't speak Cantonese. Whether they accept Cantonese or not, Cantonese has a long history. It was once an elegant word in ancient China, that is, "Mandarin" at that time. It can be said that Cantonese is a typical language developed by civil society. It is regional and can independently undertake considerable cultural propaganda functions. Not all films made in Hong Kong are true. Besides accurate pronunciation, authentic meaning also includes specific words and specific pronunciation methods. If you watch Ye Nianchen's movies, you will find that the pronunciation and words are very different. First, there are many English pronunciations, but some Cantonese words are missing, which is more like translating Mandarin. Therefore, when cooperating with the mainland, writers are often influenced by the mainland Mandarin, and they may write versions in two different languages, which is undoubtedly a problem that many co-productions need to balance at present.

Back to the dialogue in this film, we can see that many words are commonly used, but the Cantonese we usually hear is different. For example, when it comes to the word "Gu Bei", we heard the dialogue between Stephen Chow and Ruhua in the movie "Domestic Lingling Lacquer", including the word Gu Bei. This word was invented by Hong Kong people, and it specifically refers to sex workers from the Mainland. There is also a very obscure saying that "steamed sausage with mushrooms in the north" is a metaphor for the sex work of prostitutes. Of course, sausage is undoubtedly a metaphor for male sexual organs. However, mushrooms and sausages are frequent visitors to typical Cantonese cuisine. So it will be said that it is steamed sausage rather than other objects similar to male organs.

Hong kong films

If the symbols with local characteristics are carefully excavated from this film, they are almost everywhere. But movies are not symbolic learning after all. If a Hong Kong film really starts from local culture and existing social problems, it can be targeted, unlike other "big searches" involving mainland public security or mainland gangs.

If the cooperation between Hong Kong and the mainland continues to be assimilated by the mainland system, it will eventually face a creative bottleneck. As the State Administration of Radio, Film and Television, it should approve more Hong Kong films to be shown in Cantonese, which will not only have a market, but also promote the real prosperity of Hong Kong films, instead of using Hong Kong filmmakers as propaganda tools to boost the box office.