Critic Huang Chien-ye agrees that Lin uses the camera in that film much as Hou does in his films, but points out that the film includes various spiritual and mystical elements, such as the appearance of the deceased mother's spirit, which are entirely absent from Hou's work. Furthermore, it is much colder and more removed in its handling of emotions.
影評人黃建業分析，林正盛在鏡頭的運用上和侯孝賢走同樣路線，但他的影片中神秘異像的筆觸，如早逝母親魂魄的出現，是侯孝賢電影中沒有的；此外在感情的處理上，《春花夢露》也比較冷、遠。