The film does not rely on the set practice of depicting a child dependent on a paternal figure, but rather treats both characters equally. The two share a bitter hatred of enemies, be they hoodlums or violent repressors. Even the way they bid farewell in the end is a means of mutual support: Zhang gets the film lampshade Liu has been dreaming of from “Mr. Movie” Fan, the wrapping paper of which Liu then finds in the desert (she falsely assumes this is an important object to Zhang) and carefully preserves it. This pattern of mutual support is more often used in romantic relationships rather than father-daughter. The film gradually reveals some ambiguous hints to romantic relations; two years later, when they reunite, based on the viewing experience, the audience may expect two lovers rather father and daughter to reunite. Liu thoroughly changes her appearance by swapping her boyish outfits for more feminine attire, and there is a bashfulness in her eyes that points to her experiencing her first love. Zhang develops a graceful bearing once new policies are implemented. When Liu carefully hands over the wrapping paper that she had cherished so much, her crush on Zhang is revealed, the scene reminiscent of My Father and Mother also by Zhang Yimou.

Zhang Yimou uses a similar pattern in his work but ends things abruptly, leaving much to the audience’s imagination. One Second determines a new type of relation between the two sexes, neither a nominal father–daughter kinship, nor a Lolita-esque relationship. Their connection transcends normal friendship as they share a common experience, an equal relationship that alters the basic pattern of romantic films in extraordinary political climates, distinguishing it from predecessors and surpassing itself.

In One Second, Zhang Yimou carries out a bold experiment. Through simple narration with the help of the film reel, he manages to manifest film culture on various levels, reflect some substantive characteristics of film, and explores the status and social function of films under certain social circumstances. Such an attempt is unprecedented and is a trailblazer for Chinese cinema.

This film leverages meta-cinema to reflect on two working patterns of cinema. First, One Second magnifies the features of collective viewing. Showing a film is not a regular thing in a small town, it only occurs every few months or so. The director focuses the camera on this special moment and elaborately creates a rare scene - a utopia of film.

With no outside comparison, this viewing activity continues with no self-consciousness, but the director forges a personal view of Zhang Jiusheng. Niche films exist to make special demands for that which does not exist in the world of the film. The director has Zhang find a niche film to allude to its fate. The director has Zhang find a niche film to allude to its fate. Individuals may be not interested in this collective viewing, keeping to the personal satisfaction of their own psychological needs and emotional pursuits. This is why niche films exist. These two ways of viewing form a delightful contrast and supplement each other. Zhang Yimou innovatively finds a new path for the creation of metacinema.

The uniqueness of One Second lies in its reflection on film reels. It was also produced in an age where modern film techniques are consistently evolving, and media convergence is so advanced. How does one show the desire and respect for movies of people in an isolated and primitive environment? The director uses the film reel as a core tool, conceiving the plot through the particularities and shortcomings of reels, and constructing a site for experimentation on film reels through related scenes in the film.

Persistent Reflection, Artistic Conception: A Review of One Second