《河》反映了藏民一家三口真实的日常生活状况,抛开民族和地域性,与我们常见的家庭没有什么本质区别,都是家庭成员间普遍存在的沟通障碍,以及用谎言来搪塞对方这样令人无奈的现实。《河》的处理手法,有别于过去不少少数民族题材电影带有的文化猎奇色彩,经常把关注的焦点对准那些象征意味特别明显的元素,例如宗教、经幡、磕头、跪拜、仪式、民族风俗、甚至是特殊的地理面貌(戈壁大漠、无人地带的风土奇观),好像不表现这些最具民族特色的风情,就难以形成影片的诉求和表达。但《河》甚至都并未过 The “river” reflects the true daily living conditions of the three Tibetan families. Setting aside national and regional features, there is no essential difference between our family and our common family. It is a common communication barrier between family members and lies are used to prevaricate each other Really helpless reality. Different from the cultural curiosities of many ethnic minority films in the past, “river” approach often focuses on elements that are particularly symbolic, such as religion, prayer flags, kowtow, kneeling worship, ceremonies , Ethnic customs, and even special geographical features (desert in the Gobi desert and spectacular wonders of unmanned areas) do not seem to represent the most ethnically distinctive customs. Therefore, it is hard to form a film’s appeal and expression. But the “river” is not even over