If you have a customer and you have a product, then you can combine the two, but just don't forget that the focus is not on your product, but on the customer's experience: how did they fare before they used it, and what happened after they used it. Have they had a better time. In director Zhang Ji'an's memory, at the end of the summer of 1987, the hometown of Kedah on the border of Malaysia and Thailand escaped into a strange mist. Since the opening show of rewarding the gods, "Southern Witch" has established the keynote of the religious performance.
The "religion" in it does not simply refer to the religious differences between Malay-Chinese, Shamans or Siamese, but also relates to the coexistence of these three parties. Borderlands, how ethnic politics is embodied in this arena. The director clearly whatsapp list stated that this is his childhood past. In that year, his father had a conflict with his neighbors, and then he bowed his head; his mother ran for this, and stepped from the unbelieving reality to a corner of the village where legends and superstitions blended. Since then, the director's childhood has been covered with a layer of religious heterogeneity mixed with Siamese, Chinese and Shaman beliefs.
At the same time, under the dark tide of ethnic politics in the 1980s and 1990s, he was silently influenced by the forces from various outside groups. As a Chinese identity of. Under the long-lens photography style of fixed camera, the seemingly static characters in the painting and the events brought out by the voice-over are intertwined in "Southern Witch", which lays a magical atmosphere in the realistic scene for the whole film to emphasize the relationship between the environment and people. From the opening word card, it has been said that here in Kedah, it is about people and boundaries.