Post: 暗室中的风铃 Fengling in the Darkroom


主演:马筱 董洁依
制片公司:中国戏曲学院 独立制作

Director: Hazel Li
Screenwriter: Hazel Li
Cast: Xiao Ma, Jieyi Dong
Producer: Hazel Li
Cinematographer: Bojun Yao
Genre: Featured short
Length: 15min
Year: 2022
Dialogue: Chinese
Subtitles: Chinese
Region: China
Production Company: National Academy of Chinese Theatre Arts

故事梗概 Synopsis


After the suicide of her ex-boyfriend, Feng Ling couldn’t let it go. In any case, she couldn’t understand. Xiaowan was a regular customer in Fengling’s darkroom (for filming washing). She secretly liked Fengling and peeked at Fengling. She went there on the last day of the darkroom operation. Feng Ling found that Xiaowan was wearing the badge that her boyfriend carried when he died, and she wanted to know the origin of Xiaowan’s badge, so the two entered the darkroom together. Through the dark room, Feng Ling began to realize that everything she once had was an illusion, and Xiao Wan wanted Feng Ling to let her ex-boyfriend’s affairs go and face her future life again. But to Feng Ling, Xiaowan was just a stranger wearing the same badge as her ex-boyfriend, and “ex-boyfriend” was just a “badge” of life. After the film was washed, Feng Ling could not find the source of the badge in the film, but when Feng Ling opened the floor where the badge was buried, the badge disappeared. In the dark and crowded secret room, two “unfamiliar” girls had an ambiguous conversation.

导演介绍 Director Biography



  • 1. 2016年 导演、编剧、主演 短片《closeup》入围 2016年罗德电影节
  • 2. 2018年 导演、编剧短片《凌晨三点在公园找猫》
  • 3. 2018年 主演、参与摄影短片《亲密》于2019北京酷儿影展展映
  • 4. 2019年 主演(李小禾)短片《摇头岭指南》,于厦门hishorts电影节展映
  • 5. 2019年 独立长片剧本《异梦森林》创投中
  • 6. 2020年 DIT、现场制片短片《水中的凯尔匹》
  • 7. 2020年 妆造、服化统筹短片《快!野人,要消失了》
  • 8. 2020年 副导演、演员短片《莫利的海岛》(后期中)
  • 9. 2020年 制片主任《人群站立》

Hazel Li, director.

Art works:

  • 1. In 2016, the director, screenwriter, and starring short film “closeup” was shortlisted for the 2016 Rhodes Film Festival.
  • 2. 2018 The director and screenwriter of short film “Looking for a cat in the park at three in the morning”
  • 3. In 2018, starred and participated in the photography of short film “Intimate” screened in 2019 Beijing Queer Film Festival
  • 4. In 2019 starring in the short film “Guide to the Shaking Mountain”, which was screened at the Xiamen Hishorts Film Festival
  • 5. In 2019, the independent feature film script “Forest of Different Dreams” is in venture capital
  • 5. In 2020,DIT of “Kelpie in the Water”
  • 6. In 2020, makeup and costume coordinating of short film “Quick! Savages are going to disappear”
  • 7. In 2020 Associate director and actor short film “Molly’s Island”
  • 8. 2020 Production director “The Crowd Standing”

导演阐述 Director Statement




“Fengling in the Dark Room” attempts to present a character from the perspective of the “other”, using fragmented superficial information to simulate the shallow understanding of human beings in urban life. In a single scene, a “sandbox” is created, a sense of unknowability and alienation between people, and a thick “fourth wall”, allowing the audience and characters to think at the same time, what is real? The protagonist is a girl who doesn’t know who she is. Under the gaze of the world and the gaze of her ex-boyfriend, she takes the initiative to distance herself from herself. Life is one symbol after another. Her sexuality “disappeared” in her continual regression, only to disillusion her entire life with a harsher blow. If our world is fake, who are we? In the intimate and distant relationship between the two girls, they not only imitated the whole life of the protagonist for a moment, but also imitated the appearance of people getting along with people in the city. In the beginning of the story, the protagonist once lost a badge, but was picked up by a girl after a year. A small probability event is a kind of fate, the protagonist firmly believed in this, and started to explore the badge. This “love” is confused with the protagonist’s “love” for things that have passed away. In the technique of play, what led to the acquaintance of the two is a typical coincidence. Such coincidences are low-level in conventional playwriting techniques. And this just aroused my thinking about the theme of the short film. If people really have such a coincidence in their life, they cannot talk to outsiders-because the impact of “coincidence” on oneself cannot be felt by others. Once said, it will cause others to doubt the authenticity of this coincidence. People are lonely when they are eager to share this emotion, so in the film’s scriptwriting skills, the learners are told that coincidence is a low-level narrative strategy, which cannot gain the broad empathy of the audience. In other words, describing a sense of loneliness that is both real and illusory is the original purpose of the script.