Baober in Love is filled with neurotic symptoms. Characters, camera, settings and the story itself are beyond the norm. The film continuously wanders from the excessive running-and-laughing liveliness to the hypnotizing, dazing moments, like someone with manic-depression under surrealistic airs. Li Shao-hong raises the question about how the soulless people under the pressure of modern city life can bear feelings of love. And in the film, love appears in a weird way. Liu and Baober finally start a long-wished true love of their own. But it′s too soon to see the end of love at their love nest in the factory, when Baober, struggling with early traumatic memories from urban life, suddenly leaves him but finds out in the most horrible way that he′s still living in her inner self. In its pessimistic view, the film depicts the cityscape as monster-like buildings that she flies over, like a horror film. However, the pessimism renders us stirring-up excitement upon the vivid, dizzying images. Li Shao-hong wraps up the city, in which needs its people to tolerate living, with the most dazzling images and throughout, puts the possibility of love to the test. Baober in Love is a film of hallucination that allows us to enjoy even its pessimism. (Kang So-won)