《立春》与《孔雀》有着一脉相承的气质,但从《孔雀》到《立春》,却是一个从悲伤到绝望的路程忍不住在《立春》中寻找《孔雀》的影子。同样色泽灰暗的小城,同样倔强生存的众生,只不过寻常百姓家的宁静炊烟变成了巨大工厂的高耸烟囱。这一变就昭示了两部影片最大的区别:安详与躁动,认命与不甘。而片头那座建在公园土山上斑驳陈旧的亭子,就是两部影片的交汇点,《孔雀》在山后无声涅磐,《立春》在山前静静到来。人间四月芳菲尽,山寺桃花始盛开——小城的春天即使来临,也依旧带着深入骨髓的凄冷和绝望。这样的电影像一只穿膛的手,插入 “Spring” and “Peacock” have the same strain of temperament, but from “Peacock” to “Spring,” it is a shadow from looking for “Peacock” in “Spring” from a sad to a desperate journey. The same gloomy town, the same stubborn living beings, but the ordinary people's home quiet smoke into a huge factory towering chimney. This change shows the biggest difference between the two films: peace and restlessness, fate and unwilling. The opening piece of the park built in the mottled mountain terraces, is the intersection of the two films, “Peacock” in the mountains silent Nirvana, “Spring” quietly came in front of the mountain. Fang Fei in April to make human world, temple peach blossom in full bloom - the town of spring even with the advent of still with deep bone marrow desolation and despair. Such a movie is like a perforated hand, inserted