Du Qifeng is undoubtedly one of the most important film directors in contemporary Hongkong. Especially since the Galaxy Image was founded in the mid-1990s, Du Qifeng and his team can be said to be the mainstay of Hong Kong films and have been supporting the Hong Kong film industry. As an out-and-out fan of Du Fu, the master students of Hong Kong Academy for Performing Arts spent more than two years traveling across provinces with the cast, interviewing Sir Du himself and his working partners in depth, and finally presented the audience with the most frank and true image of loving Hong Kong deeply and going all out for the movie. In most people's eyes, Du Qifeng is a director with a big temper and domineering spirit. At the beginning of the film, we were led to watch Sir Du's fearsome bad temper at the scene, and looked at the staff around him with a serious face (his swearing expression and tone reminded me of Johnston in Blind Detective), and of course there were many auxiliary words (rude words) in the middle. It is very interesting and interesting to start with this image of Sir Du in most people's minds. The first part of the film records his creative process in the Galaxy image, including the shooting challenges and team play of "100,000 Urgent Events" and "Big Events", a series of Du Fu-style films (Gunfire, PTU, Judo Dragon and Tiger List, Exile, Wen Que), Death Money, which expresses concern about the social situation, and a co-production with the mainland. In this part, the audience can feel Du Qifeng's spirit of constantly seeking innovation and his humble attitude of constantly learning and creating, which is driven by his unremitting love for movies. The film also talks about the low tide of the Galaxy image that year, which made Du Qifeng decide to adjust his creative route and start shooting some films with strong commercial flavor. For the development of the Galaxy Image, this adjustment is undoubtedly the right decision. Commercial films such as "Lonely Men and Few Women" and "Slimming Men and Women" have achieved very ideal economic returns, which enabled him to practice (experiment) his ideal films. His courage to "let go" and "take on" and a clear understanding of his goals are the key to his success, which is worth learning from later generations. Du Qifeng is also very concerned about cultivating films, and the second part of the film mainly focuses on this aspect. In addition to cultivating Qiu Naihai and others to take over his galaxy image, he is also very keen on cultivating a new generation of Hong Kong films, and the "fresh wave" he advocates has indeed provided many opportunities for talents who are interested in joining the film industry. As Zheng Baorui said in the interview in the film, in view of the current environment in Du Qifeng, he can choose to live a relatively leisurely life without planning for the "fresh wave", but his decision to do so is based on his sincere desire to train successors for the Hong Kong film industry, which is really admirable. As a film director, Du Qifeng believes that we must have an independent and honest view of society and the times. Even if you can't express yourself directly due to various factors, you should express your thoughts through movies, otherwise the director is just a tool without soul. Du Qifeng's films are always permeated with his feelings for Hongkong, his views and criticisms on society, and the third part of the film is devoted to this aspect. In this part of "The Upright Man", Du Qifeng unreservedly expressed his love for Hong Kong, and also expressed his views, criticisms and lamentations about Hong Kong now. As Hong Kong people, the sense of powerlessness and pain is tacit. The film "Gangdom 1￠2" foretells the future of Hong Kong, which is exactly the situation in Hong Kong today. Seeing this, we not only admire Du Qifeng's amazing insight, but also feel that the indifferent and unique local flavor in Du Qifeng's films is fading away, and Hong Kong is no longer our familiar Hong Kong. When we think about this, we can't help feeling sad. However, the film ends with two symbolic judo dragon shots, which can be regarded as a shot in the arm for ourselves and Hong Kong to continue to strive for self-improvement in adversity. This documentary, which takes Du Qifeng as the object of shooting, is not only limited to recording and sharing Du Qifeng's film creation, but also extends to spying on the changes of Hong Kong, showing a kind of love and care for Hong Kong in the bones. It is a love letter to Hong Kong. Zeqiu Lin handled the content properly, and the film progressed smoothly, and there was no abrupt feeling at the turning point of different topics. It is commendable that the film clips used in the film are accurate and thoughtful, and they cooperate well with the content in the film, and some can create a sense of joy. The movie "Infinite" is not just a movie of Du Fu fans. As long as you like movies or have feelings for Hong Kong, this movie will definitely move you.