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BISFF Live recording ①


1.Roller Coaster

Q: In Roller Coaster, the pandemic is an important background. How you came up with the idea of ​​connecting the mid-life crisis with the pandemic to present that sense of powerlessness and unfreedom?


A: We tried to use something symbolic to carry the outburst of emotion we wanted to express. We originally wanted to produce this story because it was my co-director who first proposed it. After riding the roller coaster at the amusement park, he saw two strange middle-aged men collecting photos of them on the roller coaster at the photo kiosk, so he wondered what kind of stories they would have and how they would behave in real life. We are very curious about what kind of situation they may have encountered. Of course, although we 90's and 95's have not yet had a well-developed mid-life experience, our parents around us have already been at this stage. I personally also like the Danish director Thomas Vinterberg very much. There are many such middle-aged male images in his works. These combinations have provided us with a lot of experience and guidance. We found that the feeling during the pandemic is a relatively depressed state, with everyone sharing a common emotion of wanting to break through. With this kind of sentiment, we thought that maybe a middle-aged male character would be very suitable to carry our kind of emotional expression.


By Zhang Jingchen(Roller Coaster)

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2. A Year Apart

Q: During the film selection process this year, we saw many works about mourning and bereavement, and we were actually curious whether this was related to the pandemic in the past three years. A Year Apart also deals with the same theme of coping with the death of a loved one. Is the creation of this work also related to your feelings about experiencing the pandemic? Why did you choose this theme?


A: This theme is based on my mother, and the starting point is also related to the pandemic, because I am from Taiwan and usually live in the Mainland. Due to the inconvenience of traveling during the pandemic, I was actually unable to see her for three years. What kind of time is three years, I don't think it's too long or too short. But when I went home for New Year’s Eve this year, I found that there were many contradictions and strangeness in our lives. I felt like I was the Other to intervene in her life, and from a state of incomprehension or self-blame towards myself, I slowly understood what my mother’s life might be like when I was away. With this imagination, this is my starting point.Of course, more attention is paid to the daily life of middle-aged and elderly women. For example, my mother, as the eldest daughter, dedicated her life to her parents, younger siblings, and her husband and children after she got married. She has never been the subject herself, and almost no one cares about her feelings. However, I started working outside shortly after she retired, and then the pandemic hit. In a short period, her life lost its direction and focus, as if it was a common trait among women of the previous generation, a void left by everyone. So I decided to capture this moment and catch my mother’s daily life when I was not with her. As Guan Gong, who was told about the joys and sorrows of his fate, disappeared at an inadvertent node, she gradually regained her true life. I think it’s also an expression of love and respect in my understanding of time and life.



By Ocean Chin (A Year Apart)

3. All About Shaochang

Q: "All About Shaochang” is a short film about a family secret, with the director's family members playing themselves. The audience is curious about the director's origins and creative process: Is it documentary or fiction? Is there a script?


A: This film was made for a very simple reason. I am too confused. Indeed, this person has not appeared in my life since I was a child. One day someone suddenly tells you that you were born as a substitute for another person, and your emotions suddenly become a little unbearable. So I actually use this reason to try to find a place for myself, both at home and in the world. But after I first went home and interviewed them, I was sentimental and couldn't write a script smoothly. In the end, I simply recorded everything that happened to them in one month and wrote it down like a diary. After I finished writing, I had an idea in my mind, and I thought it would be better to let them perform it, because for me, this thing may be more like a very precious private video.I really hope that when I am very old and I look back at this thing that caused me pain in my youth, I can look at the attitude and emotions of everyone in my family towards this matter from a very objective perspective. So, if they come to act, it will be very precious to me. Another practical reason is that my dad is very old, and I really hope to capture some of his video materials within a limited time, so I am used to taking pictures of him directly from my freshman year on my homework until I graduate school. I wrote most of the lines into a script and then showed them to my family. I even rehearsed most of the play once, but I found huge difficulties during the rehearsal. Their emotions broke down very easily. But to my surprise, everyone was very dedicated and they really followed every word. They completed all the performances with my script and lines, and even gave a lot of surprises that were not in the script. I was very flattered.




By Xu Peiyao (All About Shaochang)

4. When a Rocket Sits on the Launch Pad

Q: Similar to Xu Peiyao's All About Shaochang, When a Rocket Sits on the Launch Pad seems to be a work that walks between different methods of documentation and fiction. Please talk about how you constructed this work.


A: It is an extension of my 2021 graduate work Eagles Rest in Liangshan. There was a very small interview conversation in the middle, and one of the protagonists talked about this matter. Girls of the Yi ethnic group are negotiated into marriage at a very young age, and may face such a choice after their first menstruation. This is the same story that everyone sees in the film. So when I returned to Liangshan in 2022 to see the subjects I had photographed before, I actually didn’t plan to take any photos but just brought a camera and two data cards. After I went there, just at a dinner table, I saw this girl and she was particularly sullen, I asked her why and she said that her mobile phone dropped into the water. Then I suddenly thought that this might be a good story to build a film, so this one was completely unprepared. I did everything from filming to editing all by myself. I coincidently learned about such a story point, re-established the fictional reality image before this point occurred, and then recorded the afterward. After that, I mixed it into a short film like this mixture of plot and documentary.


By Liu Bohao(When a Rocket Sits on the Launch Pad)

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5. How to Imagine the Unimaginable

Q: "How to Imagine the Unimaginable” is a particularly contemporary work. It responds to many problems in today's era of the proliferation of images and rapid advancement of algorithmic AI technology; it also touches on a very important issue: using databases and algorithms as generation mechanisms. Can AI creation give birth to some kind of imagination? Or is it human imagination that is the real imagination?


A: We initially thought of these while looking for information on the subject of the film. Because children of our generation will all have the experience of imagining ancient creatures. AI, in particular, has become very popular recently, and we are all very concerned about this technology. At the same time, we thought about whether it is possible to integrate these two things and all surrounding related materials into such a topic for discussion, and also include some more personal narrative, which we are doing as a thread.


By Guangli Liu(How to Imagine the Unimaginable)

A: Let me add a few words here, because when we finally deal with "AI" and the issue of "imagination", especially as you said, so many tools are changing with each passing day, but when you think about it from a conceptual or a rational perspective, you will find that there is no so-called conclusion. The film is also based on a combination of personal images, and ultimately the focus remains on the people. The human being is the real subject that can exert the so-called "imagination", thank you.

这里我稍微补充两句,因为确实最后处理到 “AI”以及关于“想象力”的问题的时候,尤其像您说的,今天这么多工具日新月异,但是真正去从一个概念或者从一个理性的角度去考虑这个问题的时候,会发现这个是没有一个所谓的结论的,然后这个影片落脚点也是跟私人影像做了一个结合,最终重点其实还是在人身上的。人才是真正的可能去发挥所谓“想象”的一个主体,谢谢。

By Chen Zirui(How to Imagine the Unimaginable)

6. Sojourn to Shangri-la

Q: I think the most creative key point of the short film Sojourn to Shangri-la may be the drone footage, which also brings a completely different temperament to the film. I would like to ask you to talk about the origin of the film based on this point.


A: I first wanted to make this film because I worked in an advertising agency for a while after graduation and was exposed to advertising shooting. I felt a huge sense of separation at that time, so I wanted to make a film about this experience. Later, I happened to have a friend who actually encountered this incident. He went to participate in a fashion MV shooting as an art assistant. They placed a device on the beach a day in advance. When they went to the scene on the day of filming, they found that it could not be found due to high tide. At that time, my friend made a video call to me at the scene, and I suggested to him whether you could borrow a drone and fly to the sea to look for it. So in fact, there is a real event as the basis. I made the subsequent fictionization and plot development based on it.I decided before shooting that I would only use the aerial drone perspective after I started the aerial photography episode. It’s because I think that after the protagonist has a drone’s perspective, he has a non-human ability that is extended from the human flesh and brought about by technology. This kind of thinking helped him communicate with nature, including his resistance to the system and environment of the crew.



By Lin Yihan(Sojourn to Shangri-la)

7. Wind Blows the Greenhouse

Q: "Wind Blows the Greenhouse" captured the ruined landscape of a large greenhouse building. How did you discover this space and how did you start creating it? How to deconstruct these materials during the editing process?


A: I walked in once when I accidentally passed by and noticed the place was unattended. After entering, there was still no one around, but I saw some plants living together with the buildings. I felt that they were quite harmonious. They were not desolate at all, but complemented each other. It made me quite comfortable, so I just want to keep and record this first impression. I did it five or six times. It was only later that I discovered the clue of wind, and then formed a film structured by wind (no wind - wind coming - wind going). There were no people in the filming for the first few times, but then suddenly there were workers on the construction site, which was quite unexpected, that is, it started to resume work, so, in the end, I also added the element of people into the film.


By Nigel Yu (Wind Blows the Greenhouse)

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