The Japanese scientist Sekai [=the world], seeking a bright future for mankind, invents a motor that burns water. His wife Hikari [=the light], dies when giving birth to their son Aun [the beginning and the end of all things]. As a toddler Aun discovers an unusual sea snail at the beach. Sekai uses it for experiments involving his own body, which ultimately kills him. Twenty years later Euclides [=number theorist], a deaf scientist from Brazil’s capitol – the modernist Brasília – carries on Sekai’s experiments. He believes the sea snail to be the missing link to a livable future and therefore asks his wife Nympha [=pupal stage of butterfly] to find Aun. She takes on an ancient Japanese card game with the Japanese yakuza as she discovers that Aun used to gamble in Tokyo. Fairies from the woods send her an elf messenger who leads her to Aun – now serving as a priest in a Shinto shrine. Infatuation takes a hold of them. Nympha enters the world Sekai had envisioned. Euclides, by now in trouble with the sponsors of his project gets his wife to lead him to Aun’s shrine. As they arrive Aun – aged dramatically – hands the sea snail to Euclides. Delighted the latter carries out experiments while his wife tries to find a way back to the world she’d been able to experience. Euclides rejoices as he believes to having succeeded in creating ‘the future’. The fairies put a spell on him. Euclides dies. With his last breath he exhales a substance that makes the world vanish from the universe.‘AUN – the beginning and the end of all things’ tells the story of mankind’s quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics and science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates in nature’. Sadly the hubris ends and gives the audience the chance to heartily weep for the world.

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第一是对白。片中对话的语言风格，总体还是切合形象特点的。尽管演员们的演绎都很有情境感代入感，但每次要煽情入戏的时候，主角突然来一句冷不防的鸡汤，或是语重心长地拍着某个副角说“xxx啊”，人生是怎样的，社会是怎样的。而且就这么明晃晃地打在字幕上，作为纯文本来看，单拎出来是很有深意的名言，但从全片视角来看，过于频繁的说教语句显得太跳戏了，又像是导演急切地想把自己要说的要骂的写给观众看。好在沈腾等人的台词功底够硬，观感上会好一些。而韩寒似乎想要把“人物语言”当“旁白”用，有一些话

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导演邓安东用细腻的情感和执导技巧，将生活中的亲情和家庭的温暖展现得淋漓尽致。影片中，张晨光饰演的父亲虽然离开了，但他留下的回忆却让女儿更加坚强勇敢。

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剧中的台词，多少有点俗套-“祝你生日快乐，我只是想说这句话，所以就来见你了”“润子小姐 我要娶你为妻”“你为什么会选择我呢？因为必须是你"“”你在心里说谎了，看你的眼睛就能明白，在我的面前不用逞强”"先动心的一方就输了，是吧？" 刷完全剧，回想起来，有的是一种暖暖的感动。 如果说“先动心的一方就输了”，那高岭的那句“润子小姐 我要娶你为妻”之后，应该就可以全剧终了。不过，这“一见定终身”，可谓是一见钟情的终极版了。高岭为什么会有如此举动呢，也许是强烈的第六感，也许是性格

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该剧是一部深入探讨人性的电视剧，通过对卧底警察李志行和贩毒组织头目韩洋的描绘，向观众展现了人性的复杂和复杂的人性。该剧紧凑的剧情和出色的演员表现，让观众深入了解了这个职业的艰辛和危险。