This film is both the antipode and the twin brother of Brokeback Mountain. The first is because his mood, skillfully conveyed by the director, is fundamentally opposite to that which E. Lee creates in his American history. The second is because both of these directors are engaged in cinematography that is similar in spirit.
The first is because the stuffy, cramped, shabby rooms of rented houses Kar Weiya-Li transforms into the endless expanses of mountain valleys; the dark gray-yellow tones of the gateways of Argentina flare up and bloom with hundreds of shades of herbs and flowers, the blue sky, creating the illusion of American freedom.
The second is because the water, of which there is so much in these ribbons: lakes, rivers, waterfalls, washes away the dirt of carnal, sinful love.
It is an unusually deep and dramatic film, impeccably filmed - delicate and graceful, like oriental poetry.