《红色恋人》提出了一个很有趣的问题，即电影的主体形态应该是什么？这些年我自己对电影的认识在不断地改变，现在我比较明确了一点，就是以好莱坞模式为代表的主体形态，这是电影的本能。电影是为大众拍的，它并不那么直观地进行意识形态的翻译，而是更多作用于人的生存... “Red Lovers” raised a very interesting question, that is, the main form of the movie should be what? In recent years, my own understanding of the movie is constantly changing. Now I am more explicit about the main form represented by the Hollywood model. This is the instinct of the film. The movie is made for the public, it does not intuitively carry out ideological translation, but more of the role of human survival ...