As a hint to neo-realism to come, People on Sunday involves certain aesthetic feature which subtly mixes what appears to be narrative and what one takes as documentary. About this film，I do not consider that the fiction plot and reality presentation should be seen as two approaches with clear boundaries. It is the connection between the dramatic narrative plot and the documentary fragments through the subtle association and inner relation that deserves understanding. The film started presenting the mixture of documentary life and fiction life in the leisure scenes when the four people began the one-day trip.Taking one sequence as an example, when the four people roast sausages on the beach, the fatter guy Erwin made a very infectious laughter, and then comes some very simple clips, that is, several close-ups of the laughing facial expression of the other three. A seamless connection is made between the close-ups of the four guys and the close-ups of laughter of boys in suit-style uniforms. The next shot is the scene of boy students laughing and playing and afterwards the scene of the hockey field. Then comes the scene of Berlin's parks and poolside and people on various windowsills on the streets of Berlin, then the people who is taking a nap on bench, followed by a shot of a woman who is sleeping at home. She is Erwin’s wife Annie, who missed the time. After that comes a shot of another woman, Christl, who is lying on Wolfgang's arm.Thus, we can tell that starting from the lens of the sausage, the film jumps through the several continuous paragraphs, that is, from the lake in nature to the urban space and then back to the lake. The transition from fiction plot which happens on the lake side to documentary presenting the real life in Berlin, is usually achieved through the connection which is often concerned with related theme, people’s action or posture. This kind of transition is integrated so well that we can hardly be aware of the conflict between narrative and reality.。

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