导演：李沫儒
编剧：李沫儒
主演：马筱 董洁依
制片人：李沫儒
摄影：姚博均
类型：剧情短片
时长：15分
完成时间：2022
对白语言：中文
字幕：中文
地区：中国大陆
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

前男友死后，风玲无法释怀，无论如何也想不明白恩爱的男友为什么突然自杀。小婉是风玲店里的常客，偷偷喜欢着风玲，也偷窥着风玲，在暗房关门这天最后一次前往。风玲发现小婉身上戴着男友死时携带的徽章，想要问清小婉徽章的由来，于是两人一起进入了暗房。风铃借由暗室，开始意识到自己曾经的一切也许是幻觉，小婉则想让风玲对前男友的事情释怀，重新面对未来的人生。但对风玲来说，小婉只是一个佩戴着和前男友相同徽章的陌生人，“前男友”也只是一个生活的“徽章”。胶卷洗完，风玲也未能在胶卷中找到徽章的来处，但当风玲翻开曾经埋徽章的地板，徽章却消失了。在黑暗拥挤的密室中，两个“陌生”女孩展开了暧昧的交谈。

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.

李沫儒，导演。

创作经历：

• 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》

《暗室中的风铃》试图展现一个“他者”视角下的人物，以碎片化的表面信息模拟城市生活中人与人间的浅层了解。在一个单场景中，营造出一个“沙盒”，人与人间的不可知和疏离感，以及厚重的“第四堵墙”，让观众和人物同时思考，究竟什么是真实的？

主角是一个始终不知道自己是谁的女孩，她在世界的注视、前男友的注视中、主动地与自己疏离开。生活是一个又一个的符号。她的性取向在她不断地退行中“消失”了，却以更严厉的打击幻灭了她整个生活。如果我们的世界是虚假的，我们又是谁？在两个女孩亲密又疏离的相处中，不仅以片刻模仿主角的整个生活，也模拟出了都市中人与人相处的样貌。

故事诞生的初期，是主角曾经丢了一枚徽章，却在时隔一年后被一个女孩捡到，主角觉得自己与这个女孩有千丝万缕的联系——在社会的网络中发生了如此小概率的事件，是一种缘分，主角坚信这点，就徽章展开了探寻。这种“爱”与主角对逝去人事物的“爱”产生了混淆。在剧作技巧中，引发两人相识的起因是一个典型的巧合。这种巧合在常规剧作技巧中是低级的。而这一点，恰好引发了我对短片主题的思考。人在生活中如果真的有这样的巧合，无法与外人道也——因为“巧合”给其本人的冲击，是别人无法感同身受的，一旦说出口，反而会引发别人对这一巧合真实性的怀疑。人在渴望分享这种情感时是孤独的，于是电影的剧作技巧中，告诉学习者：巧合是低级的叙事策略，无法获得观众的广泛共情。换句话说，描述亦真亦幻的孤独感，正是剧本的最初目的。

“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.