HERE

两个在东约克郡草莓田里度过夏天的少年，卡登与卢卡斯，在劳作中意外萌生出一段浪漫关系。然而，这段看似不可能的爱情，正随时面临着被人发现所带来的暴力与羞耻。

An unlikely romance between Kaden and Lucas, two teenagers resigned to work the East Riding strawberry fields over the summer, is threatened by the violence and shame of being discovered.

导演：莉莉·庄
编剧：皮特·瑞斯特里克
主演：弗雷泽·帕特里克·凯利、卡梅伦·迪尤斯、杰米·帕特森、阿丹·奥斯本、基兰·唐尼斯、蒂姆·庄
制片人：克里斯蒂安·达梅托
摄影：海利·格兰特
类型：剧情短片
时长：25分钟
完成时间：2025年
对白语言：英语、北英格兰英语
地区：英国
制作机构：光谱映像

Director: Lilly Zhuang
Screenwriter: Pete Restrick
Cast: Fraser Patrick Kelly, Cameron Dews, Jamie Patterson, Adan Osborne, Kieran Downes, Tim Zhuang
Producer: Christian Dametto
Cinematographer: Hayley Grant
Genre: Narrative Short Film
Length: 25 min
Year: 2025
Dialogue: English, Northern English
Region: UK
Production Company: House on Fire Productions

莉莉·庄是一位屡获殊荣的中裔荷兰电影人，现居伦敦。身为中国艺术家父母的女儿，她在荷兰长大，其跨学科创作与学术研究始终围绕着重新审视身份认同与归属感的离散本质展开。

其首部短片《在我们所见之处》（2021）于英国电影协会未来电影节首映，并获最佳纪录片提名。

其剧情片导演首作《爱在此处》（2025）首映于2025年BFI Flare: 伦敦LGBTQIA+电影节，入选“最佳展映单元”，随后获选英国电影学院奖认证的罗德岛国际电影节，并斩获短片单元最佳导演奖。

莉莉的作品以精妙的影像语言见长，着重展现肢体动作与环境氛围的情感张力，通过富有韵律和情感的叙事方式，深入挖掘日常场景中超越现实的复杂性，聚焦人类置身于广阔生态系统与话语场域中的存在状态。

她目前正在伦敦大学学院攻读创意纪录片艺术硕士学位。

Lilly Zhuang is an award-winning, Chinese-Dutch filmmaker based in London. Growing up in the Netherlands as the daughter of Chinese artists, she has centred her interdisciplinary creative and academic work around the renegotiation of the diasporic nature of identity and belonging.

Her debut short film AS FAR AS OUR EYES CAN SEE (2021) premiered at the BFI Future Film Festival in 2021 where it was nominated for Best Documentary.

Her fiction directorial debut, HERE (2025), premiered at BFI Flare: London LGBTIQ+ Film Festival 2025 and was selected as part of its ‘Best of Fest’ program, before being selected at the BAFTA-qualifying Flickers’ Rhode Island International Film Festival where the film won the award for Best Director in the short film category.

Drawing from a strength in delicate imagery, Lilly’s work underlines the emotive powers of gestures and environment, of rhythmic and affective storytelling, that roots itself in the intricacies of larger-than-life everyday scenery, centring on the notion of humans in the midst of wider ecologies and discourses.

She is currently pursuing an MFA in Creative Documentary at University College London.

作为华裔移民艺术家的女儿，我从小便直面身份认同与归属感的离散本质。与此同时，父母始终提醒我：艺术是种对话，是重新审视构成日常生活与历史元素的方式。

拥有一个姓名、拥有对某处的归属感意味着什么？个人表达的悖论贯穿于我的跨学科创作与学术研究，也正是这种矛盾最初吸引我投身《爱在此处》，探索故事中渴望与归属之间的距离。

那些我们无法、或被迫无法言说的存在，构筑起一种缺席的临在感，一种在未被言明之事中隐隐弥漫的沮丧氛围。在《爱在此处》中，自然主义与视觉叙事共同营造出一个代替角色传达情绪的环境，而这个自成一体的微观世界映照出更宏大的整体。

在当下政治极化的环境中，《爱在此处》这类故事显得尤为重要。面对那些喧嚣的恐同、恐跨、种族主义和厌女的声音——它们正试图淹没并蒙蔽一切——这部作品以静默与坚毅形成鲜明对比。卡登与卢卡斯的故事本质上关乎青春期的迷茫与不安，以及欲望带来的挫败感。青春期的痛楚在于，这是一段羞怯与勇气并存的时期，是迷失方向又竭力抓取依靠的挣扎。《爱在此处》于我而言，是一个承载着酷儿力量的叙事空间。它作为自我表达的阵地，是对塑造我们的空间与栖居之地的温柔探索，展现了我们被环境赋予、又超越环境限制的能动力量。

As the daughter of Chinese immigrant artists, I was confronted with the diasporic nature of identity and belonging at an early age. At the same time, my parents constantly reminded me of art as a conversation, art as a way to rethink the elements that make up our daily lives and histories.

What does it mean to have a name and a claim to belong somewhere? The paradox of personal utterance is something that I’ve carried forward within my interdisciplinary creative and academic projects, and also what first drew me to HERE and the distance between longing and belonging that the story aims to navigate.

The things we cannot – or are made not to – talk about create the presence of an absence; an air of frustration that can be felt through what isn’t spoken. In HERE, the naturalism and visual storytelling play a key role in creating an environment that emotes in the characters’ stead, a self-contained microcosm that reflects a greater whole.

In our current environment of political polarization, stories like HERE feel more vital than ever; contrasting with a quietude and steadfastness, the loudness of homophobic, transphobic, racist, and misogynistic voices that threaten to overwhelm and cloud. At its heart, Kaden and Lucas’ story is one about the doubt and uncertainty of youth and the frustration of desire. The pain of adolescence is a time of simultaneous shame and audacity, of feeling adrift and fighting to grasp at something to hold on to. HERE, to me, is a narrative that bears within it the power of queerness as a site of self-utterance, a tender exploration of the spaces that make us and the places we dwell, showing us the agency we have because and despite our environment.