As a painter, Qiu Jiongjiong's works are mostly blurry and indistinct portraits. Qiu's sitters are  usually frights at first glance. Upon closer examination, however, they start to exude the romantic quality of a fairy. Much like his paintings, Portrait of Mr. Huang also lays its focus on “character portraiture”. The sensational cases Qiu puts forth in the film are the mist or dim lights artist Qiu Jiongjiong creates on his canvas, which only serve to highlight the character. Mr. Huang delivers his accounts in a manner of understatement, like the stories he told are just trivial Absorbed by his narratives, I found myself back in the childhood, listening all ears with cheeks cupped in my palms out of deep admiration for an outstanding hero.

The nostalgia of Qiu Jiongjiong is vivid and romantic, rich in details and casual amicability. The methods of this film reveals Qiu Jiongjiong’s intuition as an “author”: He does not merely lay out the characters and events; he reconstructs them, thereby ridding them of the one-dimensional monotony to achieve complexity and subtlety. In this way, the film easily goes beyond the specific purpose of storytelling and builds up a distinct ambience. This intrinsic quality courses throughout Qiu Jiongjiong's films. He fixes on his elders a soulful gaze, listening to them in an intimate and relaxed manner. Meanwhile, the romantic and liberated temperament of his film is the emblem of his affinity with the early classics from a thousand years ago. (The Wonder of Qiu Jiongjiong by Yang Cheng)