Pride Days

李徐来和他的两个姐姐李兰和李敏是相亲相爱的一家人，直到李徐来的同性爱人（也是他的大学老师）自杀，他的所有秘密被揭开，姐姐们对他产生了隔阂。李徐来独自回到了他与爱人曾生活过的酒店房间，爱人的妻子杨玲也来到了这里。他们促膝长谈，随着过去的记忆被唤醒，他们明白了，有一个人用自己的死亡唤醒了更多人的爱和自爱。

Li Xulai and his two elder sisters, Li Lan and Li Min, have always been a close and loving family. However, their bond is shattered when Li Xulai’s same-sex partner—who is also his former university professor—dies by suicide, bringing all of Li’s hidden truths to light. Strained by this revelation, his sisters grow distant. Li Xulai returns alone to the hotel room where he once lived with his lover, only to encounter Yang Ling, the late professor’s wife. In an intimate conversation, as memories of the past resurface, they come to realize that one man’s death has awakened a deeper understanding of love—and the necessity of self-love—for those left behind.

导演：余婧瑶、兰天
编剧：余婧瑶、兰天
主演：孙小、李鸿双
制片人：张婧柔、池雪儿
摄影：兰天
类型：实验剧情短片
时长：38分钟
完成时间：2024年
对白语言：汉语普通话、重庆话
地区：中国

Director: Jingyao, Lan Tian
Screenwriter: Jingyao, Lan Tian
Cast: Sun Xiao, Li Hongshuang
Producer: Oddy, Cheryl
Cinematographer: Lan Tian
Genre: Experimental Narrative Short Film
Length: 38 min
Year: 2024
Dialogue: Mandarin Chinese, Chongqing dialect
Region: China

导演余婧瑶现就读于上海戏剧学院。
导演兰天毕业于重庆大学美视电影学院。

Director Jingyao is currently studying at the Shanghai Theatre Academy.
Director Lan Tian is graduated from the Chongqing University Meishi Film Academy.

在即将大学毕业之际，我们决定共同执导一部关于面孔与情感的影片。影片通过多种画幅结构叙事：4:3 呈现他者记忆中的影像，1.85:1 代表现实当下，宽银幕则承载角色心中那些自豪的日子。画幅虽有所区分，却都无法脱离主体视角，也共同指向影像媒介在情感表达中的关键作用。因为情感上的纯真，这些未能向他人道出的日子，才是“Pride Days”。

As graduation approached, we decided to co-direct a film about faces and emotions. During the shooting process, we planned to structure the film using different aspect ratios: 4:3, 1.85:1, and 2.35:1. The 4:3 ratio represents memories from the past; it captures black-and-white images that do not signify the passage of time but rather symbolise the characters’ emotions. The 1.85:1 ratio reflects the present reality, emphasizing the unfiltered realness of the documentary aspect of the film. The widescreen format represents the imagery of “Pride Days” as seen through the character’s perspective. All three formats reflect a subjective view of the events and highlight the role of the medium of image. It is through emotional purity that these unspoken days become “Pride Days.”