In Changjiang in March, kapok always covers the mountains and fields in its most ardent form. It is not the shyness waiting to bloom, nor the colorful gentleness of fallen heroes, but the determination to break away from the branches, and the brilliance that burns out the strength. It is very similar to the emotions in human nature that are suppressed but waiting for opportunities to burst out - hot, reckless, and with an indefinable sense of fate. The story of "Lost in the Shadow of Flowers" quietly begins in this fiery shadow of flowers.
Kapok is the most vivid footnote of this book and the witness of all emotions. It witnesses the first encounter between Qiongqiong and Zhouzhou in the kapok forest. The flowing light and shadow in the lens and the inadvertent collision of eyes hide the long-lost heartbeat outside of marriage; it silently looks down at the uncontrollable heat in the forest, with fallen leaves and panting intertwined. Even the foraging wild boar is disturbed by the lust that breaks through reason, as if it is a metaphor: when the soul is wrapped in loneliness, desire will grow like kapok, burning all the established trajectories. Amidst the whirling flowers and shadows, they embarked on an unknown lost path, thinking it was just a short-term indulgence, but little did they know that once some flames are ignited, they will burn through the layers of time and leave an indelible mark on their lives.
This is not a simple extramarital affair narrative, but a deep inquiry about human nature, marriage and redemption.
Intention: love, hate, love and hatred