In the movie Fellini not only expresses a strong aversion to politics, but he also shows his stance when it comes to his religious beliefs. In the church confession episode, the priest is distracted by the boy's confession, but instead is concerned about how the flowers are arranged, and walks over to correct him from time to time, and ends up asking the boy if he masturbates, and talking about how the woman at the grocery store is very attractive. Fellini is also merciless in his mockery of religion here, and it is clear that his satire is not spot-on and direct, but impressive in its euphemistic, witty meanderings. ? Obviously, the movie is not just a depiction of the traces of youth, or an indication of Fellini's attitudes about politics and religious beliefs; you seem to have no way of finding Fellini's perspective, which seems to be found in the boy, the fat boy, and the lawyers and vagabonds who act as introducers. The protagonist of the movie is not a single person, but the residents of the whole town, people with distinctive shortcomings but vivid and lovely, who are so clear and so full of personality in this reminiscence. The temperamental father, the cold-mouthed mother, the silly uncle who stands on a tree and shouts that he needs a woman, the debauched whore, the accordionist who shakes his head and plays, the stereotypical teacher, etc., all of these exaggerated and enlarged characters in Fellini's mirror image carry all of Fellini's joys and sorrows, and draw a lifelike portrait of life. The lawyer who pushes his bicycle to roam around the town may be the middle-aged Fellini, and in real life, he does have a lawyer's experience; perhaps, he just wants to let these two people simply appear in the movie, and I'm here to take great pains to interpret the speculation of a foolish person who has been pushed to do people. In fact, we can put aside all thoughts and attitudes to enjoy Fellini's colorful and strange dream journey is enough. Fellini's colorful and fantastic journey is enough. The movie ends when the dandelion floats up again, and spring is back. Always give people the warmth of the mother has left the world, the beautiful girl in red has been married to another country, life is just in the dandelions again and again in the turn of the wheel, and the winter of that no reason for the snow is still letting people reminisce about the snowflakes, that the peacock in the wind seems to indicate that the last display of youth. All this is like a dream, like a fake scene, is Fellini on the long gone youth of a tribute, is the hometown of people, things, things of a nostalgia, is a vast and varied dream, but also an incomparably profound real.