Credit: Haipeng Pictures To a certain extent, "The Barbarian Invasion" is a soil-tone film that delimits individuals from gender roles and ethnic phone database groups, and is also a film that removes the boundary between the virtual and the real. Therefore, Li Cheng identity re-enlisted in the second paragraph represents how the Peranakans in Malaysia, in addition to the double exclusion of the construction of the Chinese national subject and the Malaysian national subject, are mixed together to generate a self-narrative. The whole film is shaped into a "self" through the blending of multiple elements,
such as a Hong Kong martial arts salute in Cantonese context, a Zen inspiration, or a Hollywood commercial type, enough to glimpse the complex interweaving of Malay-Chinese identities from individuals , even if its visual vocabulary fails to keep up with the concept and appears to be assembled. "Barbarian Invasion" finally became a protracted narrative in a multi-narrative environment. No matter how valuable Chen martial arts are, no matter how they try to expand the boundaries between identities, they will inevitably feel stiff, "self" Where to go, maybe only the filmmakers are satisfied in the end.
After all, the last shot was left abruptly to the director in the story, and Li ego, chasing the whole film, seemed to be taken lightly. Remark  The term " film" is quoted from Xu "Chinese Film in Post-Malaysia: Style, Style and Theory of Authors" reviewing Hami. "The earth-tuning film crosses various borders, and goes on a journey of de- and re-Most importantly, it reflects how the protagonist performs his identity in the process of pursuing his identity, including the process of finding a home, A journey of homelessness and a journey home. The vernacular film is a dialogue between the home country and the place of residence, with the national films of