The current state of the domestic film market is still quite bleak. Initially, it seemed that *Nezha 2* had opened a new door for Chinese films, establishing a new milestone and leading the way for higher-quality productions to follow. However, the Qingming holiday box office shattered those expectations, with films like *Hunter Operation* starring Duan Yihong and Tony Leung, and *The Silent Love* starring Zhang Yixing, performing poorly both at the box office and in reviews.

Directed by Feng Xiaogang, known as the \"Father of the New Year’s Film,\" and starring Zhao Liying, *Sunflower* also failed to impress. With only a 6.6 rating on Douban and box office earnings below one hundred million, it seems Zhao Liying’s journey into the film industry might not be as easy as expected.

However, in my opinion, *Sunflower* is not entirely devoid of merit. In terms of depicting \"poor people,\" it hits the mark in ways that challenge the portrayal of fake poverty. Both the crew and the actors did a commendable job in capturing the lived reality of their characters. For example, in terms of clothing, the film realistically shows the stark difference between the \"rich\" and the \"poor.\"

Take the character Deng Hong, a prison guard. With a stable job and income, she dresses in a neat, clean outfit, complete with a shirt, jacket, and bag, reflecting a life not burdened by financial struggles. On the other hand, characters like Gao Yuexiang and Hei Mei, although young, are dressed in worn-out, old-fashioned clothes. Gao Yuexiang’s colorful fabric attire looks cheap and tacky, like something from a street market.

When Gao Yuexiang is exhausted after a fight and slumps down on a dirty bridge, her carefree attitude and the realism of the scene—sitting on the grimy ground without concern—add authenticity. Later, when the two women visit Deng Hong's house after earning some money, Gao Yuexiang doesn’t splurge on fancy clothes. Instead, she wears a dull, outdated outfit that looks as though it came from someone else's discarded wardrobe, showcasing her “poverty” convincingly.

The film’s set design also reinforces the feeling of poverty. Gao Yuexiang’s home, for instance, is depicted as a dilapidated, dust-covered room, with planks propped against the wall as cushions. The so-called bed is just a wooden board on the floor, covered with a filthy blanket. The lack of basic furniture makes it clear that she lives in a place that resembles a slum.

After being released from prison, Gao Yuexiang finds a job as a hotel cleaner. Her cramped dormitory has peeling metal bunks, and the dampness of the place is palpable through the screen. When the hotel fires her, claiming she’s a former convict, she and Hei Mei end up renting a run-down apartment in a dilapidated building. The conditions are so bad that the roof leaks, and they can’t afford a bed, using a wooden board on a table instead. Gao Yuexiang can’t even pay the rent on her own and has to rely on Hei Mei’s begging.

The film also highlights the harsh realities of Gao Yuexiang’s life. Even when she comes into contact with Hu Ping, who claims to be wealthy, the reality turns out to be far from what was expected. Hu Ping’s family is impoverished, and the portrayal of their living conditions—an old, rundown house with a sick grandmother lying on a bed surrounded by worn-out blankets—further reinforces the theme of poverty.

What stands out in *Sunflower* is its focus on portraying the struggles of the poor without glamorizing or sugar-coating the reality. The film doesn’t just rely on dialogue to depict poverty but integrates it into the characters’ interactions, costumes, and set designs. Gao Yuexiang’s desperate actions, like being scammed into engaging in illegal activities to pay for her daughter’s cochlear implant, show the lengths she will go to for money, revealing her disregard for social norms and morality in the face of poverty.

In comparison to many domestic films where the portrayal of the poor feels superficial, *Sunflower* offers a raw and authentic depiction. The characters’ attitudes toward money and their determination to survive shine through in their every action. This realistic representation of poverty is a refreshing departure from the cliché \"poor\" characters that often appear in Chinese films. Hopefully, future creators will take a page from *Sunflower* and craft more authentic, meaningful portrayals of poverty. What other details about the poor did you notice in the film?