Injustices of Migrant Workers, and I Feel Like I'm Too Caught Up in It. Later, I Settled for a Long Time, Reconsidered and Adopted the Opinions of My Friends, and Removed Many Pictures of Migrant Work Injuries, Illnesses, Bullying and Protests. I Don’t Want the Audience to Watch It and Feel That It Is So Miserable, So Heavy, and Taiwan Is a Ghost Island. I'm Thinking If the Film Wants to Talk to the Audience, How Do I Talk to the Audience? If You Focus on the Complaint, It May Not Have a Better Effect. I Started to Come Up with a Strategy: Focusing on the "People" Who Escaped, in Addition to Making the Outlines of Cao Yun and Wei Xing More Clearly, the Film Also Needs to Have Taiwanese. Therefore, Three Taiwanese Are Recorded in the Film, Namely Cao Yun's Employer Eldest Sister,
Weixing's Landlord Eldest Brother, and the Eldest Brother T-Shirt Design Who Suffered the Same Fire as Ah Shan (Ruan Ting Shan). I Think That After Pulling Out the Emotions of People and Families, It Is Better to Communicate with Taiwanese Audiences, Because It Is Common. Later, the Film Was Screened at the Southern Film Festival and the Women's Film Festival. When It Met the Audience of High School Students and College Students, They Not Only Had the Ability to Watch but Also Asked Questions. I Think That There May Be Such Vietnamese or Indonesian Aunties Around Them Who Are Taking Care of Their Elders, So I Don’t Think This Topic Is Very Unfamiliar, but
I Don’t Know Much About Them, and I Don’t Understand the Working Conditions and Ideas of These Migrant Workers. Bringing the Focus of the Video Back to "People" Can Actually Open Up Their Curiosity and Make Them Think About What the Aunts Around Them Are Thinking and Doing. I Hope That People Who Have Seen This Film Can Think and Not Limit the Dialogue to the Stratosphere. If There Was Only Stratospheric Anger, the Audience Would Have Shied Away Before They Saw It. I Made This Film with the Hope That If I Can't Penetrate the Stratosphere