Durian is aggressive from outside, smelly in a distance, but tasty in the mouth. So is money, metaphorically. Especially when the money is considered not clean—this reminds me of the argument between Xiao’e and the factory headman in the film Blush—it emits unease and aggressiveness around, thus being called “stink of copper” (tongxiu) in Chinese. However, pragmatically, having money in the pocket is after all a “tasty” thing. The movie Durian, Durian pays close attention to Ah-fang’s first taste of durian. Breaking through the stink and feeling the tasty of durian is not simply a coincident try, but a meticulous adaption of different aspects and levels. Without the disequilibrium of territory capital, the mobility of people or the proactive intention of accepting the new, Ah-fang’s father would never have a chance to seek a living between Shenzhen and Hong Kong, let along
準備要漂流的人，意志都是很堅強的，他們想要的不僅是身分上的轉換，而是更全面的重新組織自我認同，當處在沒有人認識的地方，就可以用自己的方式，重頭表現出你想給人的形象。他們比較沒有顧慮跟限制，也比較容易擺脫跟割捨，他們比較有勇氣，再次的對自己提出挑戰，而那不是什麼具有目標性的東西，而是在自我信仰與道德上做重新的審理。在這點上他們值得讓人歌頌，因為他們更能發揮人類原始的創造力，也更接近自由。
“榴莲飘飘”每个人都有属于她的故事
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