我们可以看到:越来越纠结的李玉却让越来越多的观众为她的《观音山》叫好。我们还可以看到:《我们天上见》虽然因为院线的偏见而失去票房,但观众们却为蒋雯丽那个简单的故事和不简单的情感而潸然泪下。我们依然可以看到:张艾嘉和许鞍华的电影优雅依旧。马俪文、尹丽川、宁瀛、李芳芳这些名字被越来越多地提及,她们的电影正从柳絮浮萍一般的尴尬,一步步支撑起中国电影最后的人文情怀。 We can see that the increasingly tangled Li Yu has made more and more spectators applaud her “Goddess of Mercy”. We can also see: “We see the sky,” though the box office was lost because of the cinema’s prejudice, but the audience shed tears on the simple story and the simple emotion of Jiang Wenli. We can still see that the elegant films of Zhang Aijia and Ann Hui still exist. Ma Liwen, Yin Li Chuan, Ning Ying, Li Fangfang these names are more and more mentioned, their films are from catkin duckweed general embarrassment, step by step support Chinese film last human feelings.