Through the natural and delicate fragments of life, we can still feel the relationship between the two people in the film that is not family but better than family. In the film, we can see Sister Tao fidgeting in the nursing home, waiting for her adopted son to visit her, but ostensibly telling him not to come if he has no time. This complex and contradictory emotion is a manifestation of the director's implicit expression of film emotions. At the end of the film, Sister Tao is terminally ill. At this time, the director was very restrained in dealing with the feelings between "mother and son", without any emotion, and even ignored the death of Sister Tao, without deliberately exaggerating the sadness of death.
In fact, it is easy to regard this film as a sensational and vulgar popular sitcom to win the tears and sympathy of the audience. However, it is obvious that the director did not treat the family relationship between master and servant cheaply, but artistically refined it. He restored the essence of real life in the film with relatively forbearing lens language, restored the true colors of life, and let the audience experience the affection and gratitude between people by moistening things quietly.