Also, Ang Lee uses a lot of cover shots so you can see how the two characters interact with each other above the jungle. The audience has the opportunity to read Jen's body language, Jen's expression, or Li Mubai's kung fu sequence and so on. Usually, in some important plots, other directors tend to use close-ups to show the expression of the protagonist or antagonist, but here the audience barely sees the close-ups of their faces. Ang Lee states that “A movie should be like a well-designed video game. Set it up so people can play their way and never get tired of it” (????). In the movie The Wedding Banquet, when Wei Tong, the Chinese gay boy, opens the wardrobe for his mother in the hospital while his father is in the patient's room, for the whole scene, it's just a long shot. In this emotional state of the film, Ang Lee allows us to approach this scene from two completely different perspectives: the pain and shame that Wei Tong is feeling and the confusion and awareness raised in his mother's head. Later, the camera pans out and the audience sees Simon, Wei Tong's American boyfriend, and Wei-wei, Wei Tong's cross-dressing wife. Their amazement is documented in the frame, so Ang Lee created at least four different ways of looking at this scene: just like in a role-playing video game. Giving the audience different ways to choose which path they want to take is an action of the Tao, and by doing so, the audience can find the path that influences them the most. For example, mothers in their fifties will be influenced more by the mother character instead of Wei Tong, the protagonist, because the bond between them is much closer. Meanwhile, Ang Lee really uses branches to reflect the characters' moods. In Horace Fairlamb's essay “Rom...... middle of paper...... daughter becomes pregnant even though she is still a student at school. Ang Lee's first three films, including Pushing Hands, The Wedding Banquet and Eat Drink Man Woman, are generalized as "The Father Knows The Best Trilogy", and just like the title of this trilogy: showing how little the daughters know about life, the contrast reveals how much the father knows about life and how much love there is between him and his daughters. As a result, audiences might realize that Taoism is what keeps all of Ang Lee's films connected. Taoism is Ang Lee's not-so-obvious fingerprint. By using Taoist faith in different aspects of the film such as camerawork, composition, art direction etc., the audience has the freedom in the world created by the film to choose how they perceive the greatest authenticity of the character and world of the character. it's inside.