Echoes of Soul

一阵轻盈的呼吸唤醒了她。

她沉浸在疏远又亲密的情愫之中，一笔一画地勾勒出了一个理想世界和一只小黑猫。

她和黑猫互成局部，为彼此续写着完整自我的故事。

A gentle breath awakens her.

Caught between alienation and intimacy, she sketches an ideal world, stroke by stroke, along with a little black cat.

She and the black cat become each other’s missing pieces, weaving together stories that make them whole.

导演：鲁提飞
编剧：鲁提飞
主演：詹媛源、嗷呜
制片人：陈需雅
摄影：王晓棠
类型：实验剧情短片
时长：11分钟
完成时间：2024年
对白语言：汉语普通话
地区：中国

Director: Lu Tifei
Screenwriter: Lu Tifei
Cast: Zhan Yuanyuan, Hei
Producer: Chen Xuya
Cinematographer: Wang Xiaotang
Genre: Experimental Narrative Short Film
Length: 11 min
Year: 2024
Dialogue: Mandarin Chinese
Region: China

鲁提飞，导演、创意策划、宣传。主导营销宣传、策划由梅婷、邱天主演的电影节爆款短片《陈文媛》、短片《西瓜秧秧》（坏猴子影业、bilibili）、短片《囡囝出逃记》（摘星阁、莓辣）等项目，获得百万级数据，实现流量、口碑双丰收。担任憨人剧团宣传总监，累计演出百场。

策展、营销宣传落地全国首个戏剧影像展“憨的展”、青年文化策展项目“HAN DAY艺术日”。

Lu Tifei is a director, creative planner, and promoter. He led the marketing and promotion efforts for various projects, including the festival-acclaimed short film Chen Wenyuan, starring Mei Ting and Qiu Tian, the short films Stupid Melon (produced by Dirty Monkeys Studios and bilibili), and Nan Run! (produced by PLUCK and MAYLOVE). These projects achieved millions of views, garnering both traffic and critical acclaim. He also serves as the Director of HAN Drama, with over a hundred performances to date.

Additionally, Lu Tifei curated and led the marketing campaigns for The Han Exhibition, the first nationwide theater and film exhibition in China, as well as the youth culture event HAN DAY.

这部短片是一封我写给过往的自己的告解书。

在很长一段时间里，我都擅长用幻想来弥补现实里的情感空缺。

拧巴、纠结、不敢靠近，于是带着遗憾在脑海里完成一场又一场的暗恋。

或许另一个主角始终不曾出现，一切只是我与自己的呼应。

若即若离，笨拙、虚幻又割裂。这是我与自己幻想的关系，也是影片中现实与动画交叠呼应的由来。

爱情、亲情亦或是友情，人们都在试图用关系去填补自己。

原来以前未能停留的视线，不敢大声喧哗的想念，也是我在折射、凝望另一个自己的过程。

“没关系的，你还有自己”这是我最希望用短片传递出去的一个声音。

This short film is a confessional letter I wrote to my past self.

For years, contorted, entangled, and too afraid to approach, I had become skilled at filling emotional voids with fantasies, completing one-sided romances in my mind, each tinged with lingering regret.

Perhaps the other protagonist never truly existed; everything was an echo chamber where I conversed with my own shadow.

This liminal dance between proximity and detachment, clumsy, phantasmal yet estranged, mirrors my relationship with self-spun illusions, and births the film’s visual poetry where live-action and animation bleed into each other like watercolor.

Love, kinship, friendship—humans persistently stitch themselves whole with relational threads.

Now I see: those averted gazes, those whispers of yearning, too timid to take shape, were me refracting light through the prism of my soul, gazing at alternate versions of myself suspended in time.

“It’s alright—you still have you.”

This is the heartbeat I wish to amplify through every frame:

a manifesto for self-reclamation written in celluloid and stardust.