《在勾引中学会爱》 Approach to Love



Approach to Love

2013 |72 min|叶明 Ye Ming

剧情长片 Feature Film

编剧 Screenwriters

胡张晨Hu Zhangchen, 叶明 Ye Ming

主演 Cast

马铭远 Ma Mingyuan

制片人 Producer

刘毅 Liu Yi,胡张晨 Hu Zhangchen

摄影 Cinematographer

叶明 Ye Ming

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

大小元电影工作室 Daxiao Yuan Movie Studio


故事梗概 Synopsis


This film is based on the true storythattook placeamong three boys at the University of Science and Technology of China. Wu Shuang and Xue Lei are good friends and they both have a crush on Chen Wei. After a period of suspicion, misunderstanding and forgiveness, Wu and Chen fall in love with each other, while Xue moves on and gives them his best wishes.

导演简历 Bio-Filmography of Director


Film director Ye Ming, who is also a cinematographer, editor and screenwriter, graduated from the Department of Electronic Science and Technology of USTC. This ishis debut film.


导演阐述 Director’s Statement


This film is based on an Internet novel. In consideration of the desired rhythm of the film and completeness of the story, a number of adaptions have been made. Two-thirds of the content is from the original novel. The style of the film is very realistic. It tends to represent the real situation of campus life. Regarding sexual orientation, it doesn’t emphasize differences. The film is beautiful and naïve, like a fairytale. It attempts to show the way youthful immaturity lingers in memory.

《金門銀光夢》 Golden Gate Girls



Golden Gate Girls

2013 | 90 min |魏時煜S.Louisa Wei

纪录长片 Feature Documentary

编剧 Screenwriter

魏時煜 S.Louisa Wei

主演 Cast

伍錦屏 Sally Ng,小燕飛 Siu Yin Fei, 馬金鈴 Margareta Ma,朱迪絲梅因 Judith Mayne

制片人 Producer

羅卡 Law Kar, 魏時煜S.Louisa Wei

摄影 Cinematographer

魏時煜 S.Louisa Wei

对白语言 Languages

英中 English, Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

藍后文化傳播有限公司 Blue Queen Cultural Communication Ltd.


故事梗概 Synopsis



Hong Kong’s first “directress” was a San Francisco native and an open lesbian. Esther Eng (1914-1970) was a true pioneer in many senses. She made eleven Cantonese language films—one in Hollywood, five in Hong Kong, three in California, one in Hawaii and one in New York—all for Chinese audiences before, during and after WWII. She gave Bruce Lee his screen debut in his role as a baby girl in her 1941 film Golden Gate Girl. When production slowed in the 30s and 40s, she helped her father with his Chinese film import business and, later, ran theatres in New York that screened Chinese movies. While in New York City, she also opened at least four restaurants, including the Esther Eng Restaurant, a fine dining establishment frequented by celebrities like Marlon Brando and Tennessee Williams. Following her death in 1970, her obituary appeared in both Variety magazine and TheNew York Times.


After the retirement of director Dorothy Arzner in 1943 and before Ida Lupino began directing in 1949, Esther Eng was, in fact, the only woman directing feature length films in America. However, the most conspicuous trace of her can be found in the vestiges or her New York City restaurant: the store front forms part of the iconic cityscape that decorates the cover of Madonna’s first album. Drawing on the marks she left in both the Chinese and English press, this film begins to recover some of her lost stories. Clips from her two surviving films, stills and posters from her other eight motion pictures, photos from her six personal albums, newsreels of San Francisco as she saw them, as well as hundreds of archival images are all collected to present her life and the tumultuous time in which she lived in a stunning display of visuals.

Golden Gate Girls is not just a biographical portrait of Esther Eng; it is also a tribute to pioneer women filmmakers working on both sides of the Pacific, and the courage with which they crossed boundaries of language, culture, race and gender.


导演简历 Bio-Filmography of Director



S. Louisa Wei was born in China during the Cultural Revolution but mainly grew up in China’s post-Mao era. She left China in 1992 to study literature and film in Canada. In 2001, she moved to Hong Kong and has been making documentary films there since 2003. During the past thirteen years, she has been teaching film production, story writing, and media culture courses at City University of Hong Kong. Her oeuvre as a documentarian includes the short musical Cui Jian: Rocking China (2006, DV, 35 min), broadcasted on Channel 13 of Cable TV Hong Kong, the feature length filmStorm under the Sun (2009, DV, 139 min), which premiered at IDFA in 2007, and then in a vastly revised version at the HKIFF in 2009. Her most recent feature documentary is Golden Gate Girls (a.k.a. Golden Gate Silver Light), sponsored by the Hong Kong Art Development Council.

Storm under the Sun has not only received warm feedback from audience members and film critics, but has also been viewed by historians and sinologists as a rare effort and an in-depth representation of Mao’s first nation-wide purge of writers. Partially sponsored by International Documentary Film Festival, Amsterdam, Storm has been written about and reviewed in journals in as many as five languages. It is currently housed in the permanent collections of three museums, two archives, and over 60 university libraries worldwide.

Golden Gate Girl portrays the life and times of Esther Eng, once honored “China’s first woman director.” The documentary has received positive reviews and attention from The Hollywood Reporter, Voice of America, South China Morning Post, Film Business Asian, etc. Elizabeth Kerr of The Hollywood Reporter praised the documentary for “its seamless ability to weave history, Sino-U.S. relations and social standards together to allow for inference and context.”

Wei makes historical documentaries from an explicitly personal perspective as a means to advocate for significant figures and voices lost to historical process. She plays the simultaneous roles of director, writer, and editor, not to establish a singular subjective viewpoint, but to ensure that life and the people in her films are presented intact, with all the complexity and failings of human intellect and sense.


导演阐述 Director’s Statement



My first encounter with Esther Eng took place in 2001 when I began conducting research on Chinese women directors. This research originated from the realization that women’s stories often got lost in the course of history writing, particularly in film history. Recovering such stories has become the main focus of my academic career. I did not consider making a documentary on Esther Eng until early 2009 when over 600 photos from her personal collection—including many stills from her films—fell into my hands. Her career and her life seemed to be an extraordinary case in the history of Hong Kong filmmaking, one that gave rise to many intriguing questions.

When I began to dig further into materials concerning Esther Eng, I found a few factors that together seemed to contribute to her success. First, she started her career with Heartaches (1935), a filmwith a patriotic mission. This helped her establish a positive public image with audiences on both sides of the Pacific as the second Sino-Japanese War was underway. Second, the fact that her first film was filled in a Hollywood studio was stressed and even exaggerated in local press, which gave her immense credibility as a new and young filmmaker. Third, her directorial debut was also a critical and box office success that opened up opportunities for more projects. Finally, she was able to draw talent from the many Cantonese opera performers who visited North and Central America during the 1940s during and after WWII. For fourteen years of her life, she was an active professional filmmaker; but by the time of her death, she was mostly remembered as a restaurateur.

When reconstructing Esther’s life, I was constantly amazed by how many times she had personally journeyed across oceans, but even more so by her casual boundary crossing in her everyday life. In order to find the narrative that would leave the most vivid impression of Esther and her time on the mind of today’s audience, this film has already gone through eight complete versions.

《世界大「同」》 Global Gay— Pour qu’aimer ne soit plus un crime

Global Gay (1)


Global Gay— Pour qu’aimer ne soit plus un crime

2014 | 77 min | Rémi Lainé

纪录长片 Feature Documentary

故事梗概 Synopsis

世界大「同」(Global Gay)是一部当代长篇纪录片,通过记述一些无畏的反歧视同性恋先驱们的生活和工作,反映了世界范围内反歧视同性恋的斗争经历。该纪录片描述了外交过程的起起伏伏,展示了影片中主要人物为推动该事业的发展及联合国相关决议的通过所作出的不懈努力。


The documentary Global Gay is a contemporary saga which chronicles the worldwide battle for the decriminalization of homosexuality through the lives and work of some of its fearless pioneers. The film follows the suspenseful ups and downs of the diplomatic process intertwined with more intimate stories of the film’s main characters as they try to forward their cause and impose a UN resolution.


导演简历 Bio-Filmography of Director

在投身纪录片事业之前,雷米﹒莱恩(Rémi Lainé)是一名新闻记者和独立新闻工作者。在过去的15年里,  他参与写真集制作(Twenty-Something, the Good Years), 重大事件纪录 (Outreau, our Story, The World Stops at Bugarach), 以及国际社会高度重视的人权题材影片制作(Khmer Rouge: A Simple Matter of Justice)。雷米莱恩也是一名摄影师,偶尔为著名的法国杂志XXI进行摄影。自2009年起,他一直担任法国纪录片导演协会董事会成员。

Global Gay - Rémi Lainé

Rémi Lainé started out as a news reporter and independent journalist before turning to documentary film. For the past fifteen years, he has created intimate portraits (Twenty-Something, The Good Years), works focusing on major issues (Outreau, Our Story, The World Stops at Bugarach), and films with an international focus dealing with human rights (Khmer Rouge: A Simple Matter of Justice). Lainé is also a photographer and an occasional contributor to the prestigious French magazineXXI. He has been a member of the board of the French Documentary Directors’ Guild since 2009.

《无影无形》 Les Invisibles

Les Invisibles (2)


Les Invisibles

2012| 115 min | 塞巴斯蒂安·利夫施兹 Sébastien Lifshitz

纪录长片 Feature Documentary


Les Invisibles    Les Invisibles (3)

故事梗概 Synopsis


Several elderly gay men and women speak frankly about their pioneering lives and their fearless decisions to live openly in France at a time when society rejected them.


导演简历 Bio-Filmography of Director

塞巴斯蒂安·利夫施兹是一名法国编剧及导演。他在法国电影学院La Fémis任教, 这所学校颇为重视图像和声音学。他曾就读于卢浮宫学院,同时拥有巴黎大学艺术历史专业的学士学位。利夫希茨的作品涉及同性恋主题。他2004年的作品“狂野边缘”讲述了变性妓女前前后后的一些故事。

他两次获得泰迪熊奖, 该奖项是柏林国际电影节专门为影展中各个单元反映LGBT题材的电影所设的一个专门奖项,由一个独立评审团颁发。影片“狂野边缘”荣获2004年最佳故事片,影片“邦比”则获得2013年最佳纪录片, 此片讲述法国变性艺人玛丽﹒皮埃尔﹒普沃特的故事。2014年5月20日, Rizzoli国际出版社出版了利夫希茨的一本图集,名为《看不见的同志:爱与骄傲的老照片,20世纪初同志主题照片合集》

Les Invisibles - Sebastien Lifshitz

Sébastien Lifshitz is a French screenwriter and director. He teaches at La Fémis, a school that focuses on the subject of image and sound. He studied at the École du Louvre and has a bachelor’s degree from the University of Paris in art history.

Lifshitz’s work involves gay themes. His 2004 film, Wild Side, involves several narratives, some told forward and some told backward, about a transsexual prostitute.

He is a two-time winner of the Teddy Award, presented by an independent committee at the Berlin International Film Festival to the year’s best films with LGBT themes. First, he won Best Feature Film in 2004 for Wild Side and, in 2013, Best Documentary Film for Bambi, a documentary profile of transgender French entertainer Marie-Pierre Pruvot. On May 20, 2014, Rizzoli International published Lifshitz’s The Invisibles: Vintage Portraits of Love and Pride, a collection of gay-themed photos from the early 20th century.

《掰了金发妞》 Bye Bye Blondie

Bye Bye Blondie (2)


Bye Bye Blondie

2012 | 98 min | 维吉妮·德彭特Virginie Despentes

剧情长片 Feature Film

Bye Bye Blondie (1)    Bye Bye Blondie (3)

故事梗概 Synopsis


Gloria and Frances met in the 80s. They were in love the way people are in love when they are sixteen: sex, drugs and rock & roll. Then they were separated by life events and took very different paths. Twenty years later, Frances comes back to find Gloria…


导演简历 Bio-Filmography of Director

维吉妮·德彭特是一名法国作家,小说家和电影制作人。她定居里昂,曾在挂牌“按摩院”当过女佣,妓女,脱衣舞女,在唱片店当过售货员,自由撰稿人,和色情电影评论家。后来她搬到巴黎,她的小说“美丽东西”(Les Jolies)被吉勒·巴盖特-布赫内改编成电影于2001年搬上荧幕。玛莉安·歌迪雅和斯托米·巴格西在片中担任主角。这部电影在2001年杜维尔电影节被授予Michel d’Ornano奖项。

2000年, 她执导的第一部电影改编自她的小说“强暴我/悲情世界”(Baise-moi)。电影讲述的是当代典型的强暴与复仇的故事, 属于剥削类型电影。从2004年到2005年, 她用一个博客记录了她的日常生活

2005年,她为A.S. Dragon组合的专辑“Va chercher la police”写了三首歌

2006年, 她出版了一部非小说类作品“金刚理论”(King Kong Theory)。它叙述了她在法国性产业的个人经历以以及她撰写“悲情世界”时所遭到的骂声与赞美声。

2009年她执导的第一部纪录片“Mutantes (Féminisme Porno Punk)”, 在TV Pink上播出。

2010年,她的小说“Apocalypse bébé”获得法国雷诺多文学奖(Renaudot prize)


Bye Bye Blondie - Virginie Despentes

Virginie Despentes is a French writer, novelist and filmmaker. She settled in Lyon where she worked as a maid, a prostitute at massage parlors and peep shows, a sales clerk at a record store, and a freelance rock journalist and pornographic film critic. Then she moved to Paris. Her novel Les jolies choses was adapted for the screen in 2001 by Gilles Paquet-Brenner with Marion Cotillard and Stomy Bugsy in the lead roles. The film was awarded the Michel d’Ornano prize at the 2001 Deauville Festival.

In 2000, she directed her first film, an adaptation of her novel Baise-moi. The film is a contemporary example of a rape-and-revenge film within the exploitation film genre. From 2004 to 2005, she wrote a blog that documented her daily life.

In 2005, she wrote three songs for the album Va chercher la police for the group A.S. Dragon.

In 2006, she published a non-fiction work, King Kong Theory. It recounts her experiences in the French sex industry and the infamy and praise she garnered for writing Baise-moi.

In 2009 she directed her first documentary, Mutantes (Féminisme Porno Punk), which was broadcast on TV Pink.

In 2010, her novel Apocalypse bébé was awarded the Renaudot prize. 

Bye Bye Blondie was adapted for film with Béatrice Dalle and Emmanuelle Béart. Cecilia Backes and Salima Boutebal produced a stage adaptation of King Kong Theory during the Festival d’Avignon.

《我看见》 I See


屏幕快照 2014-08-20 下午5.11.21


I See

2014 | 4 min | 灵儿 Ling’er

剧情短片 Short Narrative

编剧 Screenwriter

灵儿 Ling’er

主演 Cast

灵儿 Ling’er

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

Beijing Bitches


故事梗概 Synopsis


When a lonely single girl sees love and lust in the air of the metropolis, sorrow fills her heart and makes her desperately want a love of her own.



导演简历 Bio-Filmography of Director


I’m a student majoring in journalism. I love music and the camera lens.


导演阐述 Director’s Statement


What you see in this four-minute video is not a story, but rather some feelings. Whether gay or straight, and regardless of gender expression, a person who remains single for a long time will inevitably envy others’ relationships and emotions. This in turns makes them feel the sorrow of being separated from the rest of the world.



《粉蓝紫》 Pink, Blue and Purple

屏幕快照 2014-08-20 下午5.57.59


Pink, Blue and Purple

2014 | 3 min | Cherry

编剧 Screenwriter


主演 Cast


摄影 Cinematographer

Liu Gaoxing

对白语言 Language


字幕 Subtitles

中文 Chinese, English

制作机构 Production Group

北京纪安德咨询中心 Beijing Gender Health Education Institute, Beijing Bitch Group, 双性恋工作坊 Bisexual Workshop


故事梗概 Synopsis


I’m a girl who’s still questioning her identity. In my sixteen years of life, I’ve loved both girls and boys, but I don’t know who I am. Actually, not knowing who I am is probably better than knowing.


导演简历 Bio-Filmography of Director


I was born in November, 1997. When I started middle school I fell in love with a girl who didn’t love me back. Now I’m in high school and I’m in love with a boy. And that’s it.


导演阐述 Director’s Statement


I don’t know what I should say. I’m strange and weird and nobody in my class wants to be friends with me. But I have other friends in the world. I love all my friends, even if you are older than me. Thank you!

《当我们谈论双性恋的时候我们在谈论什么》 What Do We Talk about When We Talk About Bisexuality?


What Do We Talk about When We Talk About Bisexuality?

2013 | 7 min | Stephanie

纪录短片 Short Documentary

编剧 Screenwriters

Stephanie, Chenchen

主演 Cast

Stephanie, 太子 Taizi, 言 Yan, 坡坡 Popo, 望舒 Wang Shu, 妖妖 Yao Yao

制片人 Producers

Stephanie, Chenchen

摄影 Cinematographer


对白语言 Language

汉语 Chinese

字幕 Subtitles

中文 Chinese

制作机构 Production Group

同语拉拉视频营 Common Language Video Camp


故事梗概 Synopsis


This short documentary concerns bisexuality. It starts with one bisexual’s questioning of self and of others. By talking with bisexual people and/or people who have had experiences related to bisexuality, the film seeks a more diverse understanding of the issue in order to eliminate discrimination and bias.


导演简历 Bio-Filmography of Director


Stephanie loves gender studies as well as feminist and LGBT activism.


导演阐述 Director’s Statement


This documentary was made in the Video Camp sponsored by Common Language in 2013. The main agenda of the work is to initiate discussion of bisexuality. It starts from bisexual people themselves, and lets them share their own stories instead of being defined by the discourses emerging from the tongzhi community. It is also hoped that this clip will be able to generate more dialogue about bisexuality and to create a space for more diverse and powerful forms of imagination.


《铁兔子》 To Live Invisibly




To Live Invisibly

2003 | 50 min |黄琼纬 Huang Chiung-Wei, 李家慧 Mochiwhite


纪录短片 Short Documentary


编剧 Screenwriter

黄琼纬 Huang Chiung-Wei


主演 Cast

刚朵琳 Gondolin, Woolf


制片人 Producer

黄琼纬 Huang Chiung-Wei


摄影 Cinematographer

李家慧 Mochiwhite


对白语言 Language

中文 Chinese


字幕 Subtitles

中英 Chinese, English


制作机构 Production Group


Department of Communication, National Chung Cheng University

故事梗概 Synopsis




In this film, the idea of the iron rabbit is used as a metaphor for bisexuals’ situation. Something that looks like a rabbit is not necessarily a rabbit. When a straight couple appears, people often consider them to be ordinary heterosexuals. And when two gay people get together, people simply think of them as homosexuals. In this instinctive view, which holds that people are either homo or hetero, bisexuals seem to fade out.


This film is a real reflection of the lives of bisexual people in Taiwan. We hope that through the film, people can understand more about bisexuals.


导演简历 Bio-Filmography of Director




We are stubborn youth who are graduates of Chung Cheng’s Department of Communication. Once we decide on the theme of our shooting, we dedicate ourselves to the film without any regrets. We record life with motion images. This is our first attempt at a feature-length documentary film. We accomplished all of the planning, shooting and post-production independently. Although it was challenging to finish this documentary film in less than a year, and although the final result is not perfect, we still gained a lot of precious experience.

黃瓊緯 李家慧


导演阐述 Director’s Statement




Society’s knowledge about bisexual people continues to be quite limited. People have stereotyped them as being sexually promiscuous and unfaithful in love. Furthermore, they are often asked to choose between homosexuality and heterosexuality; anything in the grey area is not allowed. Despite the fact that bisexuality and homosexuality are both minority identities when compared with heterosexuality, there remains a tense relationship between them. Generally speaking, straight people and gay people all insist on monosexuality. Their sexual orientations are either hetero or homo. Yet bisexuals, who break the rules and show romantic attraction toward both males and females, are forbidden. We wanted to find out how bisexuals live, how they obtain self-recognition in their various identities and how they are forced to separate their hetero and homo orientations. In this way, we hope people will be able to better understand them.



《有谁在云路上飞,在云路下也飞》Who Flies Above and Below the Clouds?




Who Flies Above and Below the Clouds?

Cui Zi’en


1, 云引


汤尼﹒雷恩(Tony Rayns)在径直把片名<浮云>翻译为Zero Thousand Li Under the Clouds and Moon,用典40年代<八千里路云和月>.<浮云>发生地之一是世博会期间的新上海. 王为一导演<八千里路云和月>的发生地是国共日三方角力的旧上海.都有国际背景.翻译延展了历史.


0千里和8千里,一个多,一个不仅是少,而且是无,可谓泄尽”浮云”天机.他为我的<少年花草黄>改过英文片名Withered Lads in a Blooming Season,也有典故和引文,此不赘述.





















这部影片用4K的Red One拍摄.影片技法有很强烈的冲突.都市的人,戏剧的拍法,戏剧化存在;藏乡的人,纪录的拍法,真实的存在.寻找道路的人,貌似步履宁静,实则心事重重;祷告的人,步履蹒跚,内心却与高云一般澄净.高清凝止,对应了Red One的某些物理影像.




汤尼﹒雷恩(Tony Rayns)说,这是一部佛学公路电影.我说,这是一部云路片.云路片的特征是神马?多云少人,人类成为浮云的镜像.




















《我们害怕》通篇用SONY 150P拍摄,镜像语言冲绝而幽微,贯通着创作者的呼吸和血流的热温。手持摄影的身体性完全摒弃了电影传统中的“机械主义”,在掌温和胸温的烘烤中,上海的重重夜色鲜活起来,流丽起来,颤动起来。“客观”在这里,被扫荡得一干二净。《我们害怕》的纯净透明,因此而骤然升起。











深入到《目的地,上海》的万花筒构造里,程裕苏作为编剧的才能兀然凸显。煌煌空镜中“他在”的都市,由一个主观的画外叙事所主观化。片头如是,但是,一进正片,这种视角便蓦然消隐,“主观”缺席,“叙事者”缺席,SONY 790 BETA 数码摄像机固定在珍尼芙的“黑店“里,如同无人监控的监视器,拍摄下一场黑暗、酷砺的男妓招聘会。从此以后,影片的这种客观化立场便相当残酷地耸立在人物的肩头,不进逼,也不关怀,不施暴力,也不施温慰。无助中的人物开始了一幕又一幕自助或互助的行动戏剧,程裕苏只需顺应他们的出出没没,就可以看到万花筒内人众熙熙攘攘的变化和结局;一个又一个人物出现,又不知所终,一个又一组人际关系开展、绽放,然后又悄然凋零。在影片的结尾,一大片黑暗代替了所有的荣耀与耻辱、繁荣和伤败。黑片加歌声,与片头的浓墨重彩加歌声的格局相呼应,工整而变迁,体现着电影传统中令人津津乐道的“大师手笔”。













在上海拍上海, 是地平线视角,是平视,在平视中破界.是为<我们害怕>.






























Who Flies Above and Below the Clouds?

Cui Zi’en







When Tony Rayns translated the film title Floating Clouds (fuyun) into Zero Thousand Li Under the Clouds and Moon(Zero Thousand Li hereafter), he probably had in mind Eight Thousand Li Under the Clouds and Moon(Eight Thousand Li hereafter), the classic Chinese film produced in the 1940s. The story of Zero Thousand Li took place in contemporary Shanghai during the World Expo, while Eight Thousand Li occurred in the old Shanghai where the Communist Party, the Nationalist Party and the Japanese fought to have their own shares in the city. The two Shanghais are both international cities. Translation expands history.


In comparison to eight thousand li, zero thousand li exposes its scarcity, or rather its void. This seems to be revealing the secret of Zero Thousand Li. Tony Rayns translated one of my film titles into Withered Lads in a Blooming Season also with specific references, a story that requires further elaboration elsewhere. Two other films made by Andrew Yusu Cheng, Shanghai Panic and Welcome to Destination Shanghai, are like two sides of a gold coin: both its head and its tail have values. When Zero Thousand Li emerges, the gold coin is split in halves and its value immediately returns to zero.


Shall we pave the roads, or shall we follow the transient and forever-changing clouds?


Zero thousand li of roadexpands beyond the moon, the stars and the clouds.


Are we walking, or are clouds floating past us continuously at high speeds?


Zero Thousand Li under the Clouds and Moon


The original Chinese title for Zero Thousand Li is Yumbulakang. Yumbulakang is a Tibetan Palace located on the mountaintop in Tibet’s Tsedang County. It was believed to have been built by Bonismo monks for the first Tibetan king Nyatri Tsenpo in 2 BCE. Later, the palace became the summer palace for the then Tibetan king Songtsan Gambo and Princess Wencheng. Later, the fifth Dalai converted the palace to a monastery for the Gelupa school of Tibetan Buddhism.


According to the director, the film is based on a true story, or rather, three true stories. The first story: a woman writer, an orphan at her birth, befriends an old woman from Shanghai who had been married to a man from the Tibetan region of Yushu in Qinghai Province and moved to live there. The writer soon addresses the old woman as “godmother.” The old woman dies peacefully in meditation on her trip to Shanghai for the writer’s interview. In her will, she asks the writer to take a chain of red prayer beads to her guru in Yushu so that he can release her soul from purgatory. In the second story, Dawei is diagnosed with cancer and has only three months to live. He remembers his promise with his university friend Xiangzi that they should see each other again before they die. Xiangzi is based in Yushu and has been working there as a teacher for more than twenty years. In the third story, Xiaobao had developed a strong interest in extra-terrestrials and UFOs since childhood. He is told by ETs in a dream that they will take him away from the earth if he travels to Yushu. The three stories intersect and intertwine when the three people meet, get to know each other and then depart on the ancient Tangbo Road which leads to Yushu. The forever-changing clouds on the Tibetan Plateau accompany their journeys and they clean and purify the mortal world.


The film’s shooting locations shift from metropolises such as Beijing and Shanghai to the Tibetan region in northwest China, with Yumbulakang being the final stop and the central focus. In an interview, Cheng explained the importance of Buddhist meditation as a way of life for local Tibetans as a result of remote locations, scarce populations, difficult travelling, and long and harsh winters on the Tibetan Plateau. That is why meditation is frequently used as a theme in the film.


The Tibetan Plateau with its stretching land, never-ending time and forever-flowing monastery flags is juxtaposed with big cities shrouded by globalisation and information age and devoid of beliefs. The film makes the clouds its central character. The director’s social critique is implicit; he remains silent about his critiques to avoid being trapped in dogmas and clichés.


Some storylines are cut or treated with ambiguity: the mysterious disappearance of Xiaobao’s grandmother in the wind, the woman writer’s works, the same-sex intimacy between Dawei and Xiangzi … those complicated storylines and traces from the mortal world existed in Yumbulakang. When the clouds rise, they wipe away these ambiguous stories.


The film is shot with a Red One 4K camera. It utilises different filming styles and shooting techniques for various locations: the scenes in big cities are shot in a dramatic style to represent urban dwellers’ dramatic existence; the scenes in Tibetan regions are shot in a documentary style to indicate the Tibetans’ authentic existence. The urban travelers seem quiet and confident; they are in fact burdened with countless worries. The praying Tibetan travelers seem to walk slowly and unsteadily; their minds are as noble and carefree as high clouds. This contrast is vividly manifested through the physical features of Red One.


Floating clouds are like the world. This line is a parody of the widely known Buddhist motto: floating lives are like dreams.


Tony Rayns describes the film as a Buddhist road film. I suggest that it is a ‘cloud film’. The characteristic of a ‘cloud film’ is its abundance of clouds and scarcity of human beings. Human beings are in this instance merely mirror images of clouds.


I have once complained that people often compare human lives to clouds. Zero Thousand Miles reveals the inter-metaphorisations between mortality and cloudality. The true character of the film is thus the clouds instead of the human beings. This is manifested not only through the temporality and continuity of the cloud presence in the film. The clouds are not substitutes to other things; they point to certain cosmological correlations. They make alliances with UFOs, which are in fact clouds outside of the earth’s hemisphere. The film has a clear timeframe and a distinct storyline made up of people’s lives, which are made completely insignificant. Everything below the clouds are merely traces of light and shadows.


Shanghai Panic

This is a free-flowing film in its shooting techniques. Hand-held camera, fast-flowing images, ubiquitous random shots, spontaneous acting, as well as the pains and talents manifested in the screenplay … from the first take, Shanghai Panic demonstrates its heterogeneity.


Beibei, A beautiful young man from Shanghai, manages to get some ecstasy at the price of three yuan and he shares them with his friends. They are all overwhelmed with happiness after taking the drugs so they dance around with abandon in the discotheque. After that Beibei feels sick and suspects that he has contracted HIV/AIDS. He fears going out, going home, or going to the hospital to have his blood tested. Knowing nothing about HIV/AIDS, his friends Mianmian and Feifei hide him in order to protect him. Hearing from their mutual friend Yaoguai that those infected by HIV/AIDS will be isolated on a desert island like people with leprosy, Beibei’s friends try to hide him and raise money for him to make a trip to Hong King for treatment. Mianmian suggests that Feifei get money from her wealthy ex-boyfriend, but Feifei refuses as they have already broken up. Despair overwhelms everyone; they are reminded of their sad memories associated with family, marriage and love. Almost in despair, they send Beibei to a doctor based in Beijing who offers HIV/AIDS test without disclosing the patients’ identities. Beibei learns that he is HIV-negative after the test; it turns out that everything is perfectly normal with his health. After this incident, the friends lose their motivation for living and soon become bored again. Unfortunately, Beibei seems to have endless problems: when Mianmian finds Beibei browsing porn websites with little girls’ nude pictures, Beibei admits that he has sex with underage girls. The audience then sees Mianmian carry her baby daughter out of a hand-drawn DV screen. One incident happens after another: Beibei does not identify as gay, but he falls in love with a male dancer called Jie. Jie tells Beibei that he will disappear and will never be seen again if they have sex with each other. Mianmian tries to extend their relationship by including Jie in their friends’ group. She invites Jie to a home party where Feifei and Yaoguai shed tears while recalling the naming and birth of Meihao. Jie disappears at the end of the film, either feeling loved or fearing to be loved.


For Cheng, digital video is not only medium but concept as well. It disrupts the boundaries between reality and fiction, documentary and feature film, life and allegory. It constructs a visual world that is both real and unreal. Shanghai is treated as an allegory in the film; so are the characters living in the city. Shanghai symbolises modernity; Mianmian symbolises care in modern life; Beibei symbolises fear in the age of HIV/AIDS; Feifei symbolises trauma and reconciliation. If we read the characters in the film against reality, all of them seem to be autobiographical. The characters’ stories in the film correspond to the actors’ and actresses’ experiences in real life; in other words, real people enter the cinematic world. In this sense, actors and actresses present their own life stories without having to perform.


This film marks a collective and unreserved consumption of the memories and talents of the scriptwriter, the director, the actors and actresses.


It is not storing up, nor accumulating, nor building up the momentum; it is expressionism without restriction and creative talents overflowing beyond the film.


Welcome to Destination Shanghai


Shanghai Panic was made with a SONY 150P camera. Its visual languages are idiosyncratic and unique; they are intertwined with the life experiences of the filmmakers and actors/actresses. The bodies with handheld cameras discard the technocentrism of cinematic tradition. Warmed up by palms and chests, the cold nights in Shanghai become refreshed, fluid and dynamic. “Objectivity” has been swept away completely; the film thus displays its purity and transparency.


Shanghai Panic, with its dynamic revolt against the cinematic traditions formed during the celluloid era, appears too undogmatic for the international film community. It outrages many authorities in the field and is appreciated by some others, Tony Rayns included. In Welcome to Destination Shanghai, Cheng toys with cinematic traditions by borrowing, discarding, reusing, destroying and reconstructing them. Cheng, as a “bad boy” of cinema, displays his excellent academic training in film in Sydney. However, he is quite critical about, and even contemptuous of, his academic background as a film major. The “traditions” and techniques are only used to help film critics to understand and to “annotate” the film in case they cannot follow it.


The rather grandiose beginning of Welcome to Destination Shanghai fascinates many audiences who are obsessed with the spectacle of wealth and pleasure. At its screening venue, I discovered another meaning, an implicit one, of “loving films”: love of splendid palaces and luxurious lives and contempt for dilapidated residential neighbourhoods and poor lives.


Welcome to Destination Shanghai juxtaposes a Shanghai on the bund with a Shanghai on the Suzhou River, a Shanghai of changing political climate with the Shanghai of unpredictable economic development, a Shanghai with Chinese characteristics with a Shanghai as a global city, a Shanghai for the ordinary people with a Shanghai for the rich and the powerful, a ‘real’ Shanghai with an allegorical Shanghai … all of these pictures are presented with great complexity and precision; together they constitute a picture series of multi-faceted and polymorphous postmodern Shanghai.


If Shanghai Panic is characterised by Cheng’s individual expression, Welcome to Destination Shanghai presents Cheng’s perspectives into, and concerns about, social life in Shanghai. The “we” in Shanghai Panic (the Chinese title is Women Haipa or We Fear) is a small group of individuals combating a big and powerful HIV virus and telling stories about childhood trauma and youthful desires; Welcome to Destination Shanghai pushes the lens onto a broad “society” by weaving together abstract and concrete social realities in sound-image combinations, rife with prosperities and declines, consumption and being consumed, silence of the margins and noisiness of the central scenes, and quiet death and persistent struggles to survive.


Permanent and temporary members from the international film community see from the film a sense of helpless and desperate struggles, as well as dark and concrete urban spaces. These urban spaces are not outside of main characters such as A Ling, Guaiguai, Pingyuan and Linda; they are inside the characters. They are urban spaces impossible not to live in and to live together in; they are “destinations.”


The kaleidoscopic narrative structure of the film fully displays Cheng’s talent as a scriptwriter. The film begins with an off screen narrator’s perspective, which subjectifies the city and presents it as the “other.” The perspective suddenly disappears when the story unfolds, resulting in the absence of subjectivity and the narrator. The SONY 790 BETA digital video camera is fixed on Jennifer’s “business premise” like a CCTV monitor, ready to shoot the next scene of the male prostitutes’ competition. From that moment, the film presents a sense of objectivity by focusing the camera lens above the characters’ shoulders. It refuses to become a close-up; there is no sympathy or comfort; nor is there violence. The helpless characters perform their activist theatres scene by scene, in solos or in groups. Cheng only needs to follow their entries and exits. Without much effort, Cheng displays the wanes and waxes of the crowd in the kaleidoscope: one character appears and disappears after another; one set of social relationship starts, blossoms and withers quietly after another. At the end of the film, a blackout concludes all the glories and humiliations, prosperities and failures. The blank screen with off screen music is juxtaposed with the grandiose scenes with music at the beginning of the film. The film appears structured but with variations; the beginning and the end of the film shows signs of maestros in film history.


The ‘deviance’ of the film comes from the ‘sister’, a pretty young woman whom Pingyuan meets on the street and follows. She suddenly grabs the ‘privilege’ of subjective narration and breaks the coherence of the film’s narrative style. In his acknowledgment of cinematic traditions, Cheng cannot help resisting the impulse to revolutionise films. Pingyuan’s story and the story of the family in which the father is gay and the mother refuses a divorce and works hard to support the family become part of her narrative. The technique of disrupting narratives also appears in Shanghai Panic, when the director suddenly appears at the end of the film as a narrator and starts looking for Jie. In Welcome to Destination Shanghai, the “sister” assumes the double role of the character and the narrator. After this, the tone of the film starts to change: the helpless is taken care of. The “carer”, however, spares no chance to indulge herself in pleasure and this deepens the sense of loneliness and helplessness of the cared. The “sister” has sex with her boyfriend in front of Pingyuan; Pingyuan’s dog dies after that and Pingyuan falls ill with a high fever. Cheng’s humanistic endeavor has failed and he has to return to the starting point of the film: moving beyond humanistic concerns and presenting Shanghai as it is, a strange collective city.


Cheng has been resisting relentlessly against the erosion of cinematic elitism with his solid post-structural spirit. In the meantime, cinematic elitism pushes him to be a professional filmmaker and inspires him to come up with more strategies to negotiate with cinematic traditions. This conflict serves as a metonymy for the Digital Video Age: this is an age when celluloid elitism and DV populism, cinematic classicism and DV anti-classicism, as well as image-professionalism and DV realism fight against each other.


Cheng starts his filmmaking career with a hand-held PD150 digital video camera, natural lighting and sound, with little post-production editing. He later switches to a high-definition 790 digital video camera, with hi-fi mixer, studio-environment recording and extensive post-production editing (in colour-mixing, light-filtering, three-dimensional presentation and music composition). Cheng thus returns to “beauty” from “reality” and starts to explore the capacity of digital videos in presenting refined and sophisticated images.


As he raises questions about the “destinations” of lives, Cheng also raises questions about the “destination” of cinema.


What is the relationship between films and digital videos? Does the DV Revolution need to build on something more traditional? Is the film industry established by international film festivals ready to meet the powerful challenges from digital video?


Floating Clouds


Shooting Shanghai in Shanghai is a horizontal shot. Shanghai Panic breaks the limits of horizontal shots.


Shooting Shanghai on a plane from Australia is a crane shot. Welcome to Destination Shanghai presents a birds’ eye view of a silent Shanghai from the sky.


Shooting clouds from the ground is a low-angle shot; shooting clouds from above is a high-angle shot. I have tried to shoot between the clouds; the clouds turn into mist; the roads disappear into mist.


Cheng sees through these clouds and mists; he makes humanity into the mirror images of clouds; hence Floating Clouds/ Zero Thousand Li.


Clouds are like mists.


In clouds and mists. This is a cinematic rhetoric and a moment in Buddhist enlightenment. At an age when artificial flowers compete to blossom, Cheng chooses to fly above the clouds.


[英译: 包宏伟 English Translation: Hongwei Bao]