我们一家人 All in My Family

我们一家人

All in my Family

导演|吴皓

编剧|吴皓

主演|吴皓及其家人

制片人|吴皓

摄影|吴皓

类型|纪录短片

时长|39分钟

完成时间|2019年

对白语言|英语、汉语普通话

字幕|中文、英文

地区|美国

制片公司|无

故事梗概

《我们一家人》是由吴皓执导的一部美国纪录短片。这部影片讲述了一个传统家庭的故事,这个家庭里的儿子是一名中国男同性恋者,他选择通过代孕生育后代。

导演介绍

吴皓是一位美籍华人导演、制片人、编剧。吴皓也是一位名为“Tian Yi”的博主。他的代表作有纪录长片《虚你人生》和Netflix原创纪录片《我们一家人》,前者获得了2018年西南偏南电影节评审团大奖最佳纪录片奖。

导演阐述

在精神层面,《我们一家人》可以看作是我对李安的电影《喜宴》的致敬。在那部电影中,一个传统的台湾家庭必须面对一个事实——那就是他们住在纽约的儿子是同性恋。1993年这部电影上映时,对我来说是一个分水岭。它给了我希望,让我知道我们这些身处美国的亚裔酷儿移民并不是隐形的,即使在做出了所有的妥协之后,幸福对我们来说也是可能的。

现在,我经历了出柜和建立自己的“现代”家庭的斗争,我想继续讨论什么是家庭,它们如何继续塑造着我们,以及它们是如何在我们告诉彼此的或真或假的故事中幸存下来的。我想向年轻一代传递这样的希望,无论是酷儿还是其他被边缘化的群体,确实有可能建立一个让我们感到踏实、有归属感的家庭。

Director|Hao Wu

Screenwriter|Hao Wu

Cast|Hao Wu’s family

Producer|Hao Wu

Cinematographer|Hao Wu

Genre|Short Documentary

Length|39min

Year|2019

Dialogue|English, Mandarin

Subtitles|Chinese, English

Region|United States

Production Company|NONE

Synopsis

All in My Family is an American short documentary film directed by Hao Wu. The film follows a traditional family where the son is a gay Chinese man who has chosen to have children via surrogates.

Director Biography

Hao Wu is a Chinese-American film director, producer and writer. Wu was also a blogger known as Tian Yi. He is best known for his feature-length documentary, People’s Republic of Desire, winner of the Grand Jury Award for Best Documentary Feature at the 2018 South by Southwest, and All in My Family, a Netflix Original Documentary.

Director’s Statement

All in My Family could be viewed, in spirit, as my homage to Ang Lee’s The Wedding Banquet. In that film, a traditional Taiwanese family must deal with the fact that their son living in New York is gay. When the film came out in 1993, it was a watershed moment for me. It gave me hope that we, Asian queer immigrants in the US, are not invisible, and that happiness, even after all the compromises one might have to make, is possible.

Now that I have gone through my own battles with coming out and building a ”modern” family of my own, I would like to continue the conversation about what family is, how they continue to shape us, and how they have survived all the stories we tell each other, truths and lies. I would like to relay the hope to the younger generation, queer or otherwise marginalized, that it is indeed possible to build a family where we feel grounded, feel at home.

沄沄 When the Tide Rises

沄沄

When the Tide Rises

导演|姜智佳

编剧|姜智佳

主演|魏君帆、静芳、陈诺潼

制片人|王钰媛

摄影|邱涛

类型|剧情短片

时长|23分钟

完成时间|2021

对白语言|中文

字幕|中英

地区|中国

制片公司|独立制片

故事梗概

2002年的中国,同性恋刚从精神疾病范畴中去除,然而对于许多人而言,这仍是一个讳莫如深的议题。同性恋人们多数依旧生活在边缘化的阴影中,以爱意去抵抗或熟悉或陌生的猎奇窥视。

在这样传统与现代杂糅并进的一年,身为同性恋人的顾半夏与郑绥安从孤儿院中收养了10岁的女孩小艾。

然而,面对世俗眼光与观念传统的父母的强硬反对,顾半夏内心备受煎熬,她开始重新思考家庭与收养之于她的意义。然而顾半夏内心的纠葛,同样为郑绥安与小艾带来了不安。

在故事的最后,虽然困难依旧横亘于眼前,但她们在亲情和爱情中寻得了自我的和解,一同去渡过人生的这条茫茫长河。

导演介绍

目前就读于南加州大学的电影学院,专业为电影与电视制作专业,辅修艺术史。在洛杉矶生活的四年间,逐渐对性别叙事产生极大的兴趣,并不断寻求探索以亚裔为主体的多元性故事。

在校期间创作过多部作业短片,其中包括剧情短片《Homeland》及《In Spring We Part》等。 《沄沄》是首部独立制作的剧情短片。目前正担任剧情短片《Anti-Venom for a Snake》的制片人,以及纪录短片《Healing in Color》的制片人。

导演阐述

《沄沄》描绘了一对女同情侣以及她们收养的孩子之间细腻而日常的情感,讲述了在社会大环境下对自我认同的疑惑与抗拒,以及在私人语境中对爱与生命的坦诚与热望。

在1999年开始实行的《收养法》中,收养人必须年满30周岁,而同性恋人是无法以家庭的形式收养孩子的。1997年,流氓罪从《刑法》中删除,标志着中国大陆同性恋的合法化。2001年,同性恋从第三版中国精神病分类目录(CCMD-3)中删除,被视为中国大陆同性恋的去病理化。千禧年前后的中国,同性之间的恋情依旧被视为一种社会禁忌,而对于30岁的同志女性来说,婚姻、家庭与母亲身份是生活中难以绕开的命题,如何在大环境下保持自己的自主选择与自我尊重,则是这些命题最终指向的疑问。

中国乃至亚洲电影在女同志人群的刻画上有着极大的空白,因此在一个女性越来越渴望被听见、被看见的时代,我希望籍此片展现她们在家庭这一人文主题下,休戚与共的悲欢情感。

与此同时,我亦想以这部影片致敬所有出现在我生命中的女性们,是她们向我展露出的刚强、智性与宽容,让我成为今日的自己。

Director|Alex Jiang

Screenwriter|Alex Jiang

Cast|Junfan Wei, Jing Fang, Nuotong Chen

Producer|Sophie Wang

Cinematographer|Kio Qiu

Genre|Featured Short Film

Length|23min

Year|2021

Dialogue|Chinese

Subtitles|Chinese, English

Region|China

Production Company|Independently Produced

Synopsis

When homosexuality was depathologized in China in 2002, it still remained a taboo for the most. Homosexual lovers lived in the shadow of marginalization, defending their silent love against the prying gazes.

It is also in this year that Xia Gu and Amber Zheng, two lesbian lovers, choose to adopt the 10-year-old Ellie from the orphanage.

Yet facing the strong opposition from her traditional parents, Xia is torn in halves and forced to rethink what a family truly means to her. At the same time, her self-doubt also stirs up insecurities inside Amber and Ellie. When she decides to return to hometown to take care of her suicidal mother, the tension in this newly formed family mounts up once again…

Director Biography

Currently a Bachelor of Fine Arts at University of Southern California, School of Cinematic Arts, majoring in Film & Television Production and minoring in Art History. During my 4 years in Los Angeles, I started to grow interest in a gendered narrative and have kept exploring diverse stories featuring Asian characters.

In USC, I’ve created multiple curriculum-based short projects, including Homeland and In Spring We Part. However, When the Tide Rises is my first independent film project outside of school. I am also currently producing an independent short film titled Anti-Venom for a Snake, which is currently in the post-production stage in Los Angeles, and a documentary short film titled Healing in Color.

Director’s Statement

When the Tide Rises depicts the nuanced emotions between a lesbian couple and the child they adopt. Yet the film is much more than that. It also discusses what it takes to accept and embrace one’s own identity under a hostile societal environment and explores the desire for love and family in a private, intimate sphere.

The story began to take shape during my research of the 1999 Adoption Law of mainland China. It stated that the adopter must be over 30 years old, and that a homosexual couple could not legally conduct the act of adoption as a family unit. And the millennium marked a turning point for the homosexual community in China, as homosexuality was decriminalized in 1997 and depathologized in 2001. Yet it still remained a taboo in the society. For a 30-year-old lesbian, marriage, family, and identity are topics which are difficult to escape. How to maintain her own independent choice and self-respect in the general environment is the question that these topics ultimately point to.

Chinese films have always suffered from the absence of lesbian representations, and in an age where more and more women are longing to be seen and heard, I want to dedicate this film to all the females in my life. It was the vigor, wisdom, and adamancy that they represent truly shaped who I am today.