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Hell Memory

When mafia soldier Yuan Liang arrives at the home of Mr. Yi under the order to retrieve a priceless diamond, he finds that not only is the diamond missing but Mr. Yi is dead. That would be bad enough, but there's an extra wrinkle that defies all his expectations. Yuan’s long-lost girlfriend Lingdang is at the center of this messy scene with an inconvenient case of amnesia.

Anxious to retrieve the gem, Yuan’s boss Mao Ge hires the eccentric Jiang Tutu, a man who claims to have a supernatural ability to retrieve lost memories. Hoping to find information to recover the diamond, Jiang Tutu works with Lingdang to unravel her amnesiac state -- and discovers that he may not be the only one with extraordinary powers of the mind.

  • Jie ZHU
    Director
  • Wei ZHOU
    Writer
  • Chi ZHANG
    Producer
  • Project Title (Original Language):
    格式化少女
  • Project Type:
    Feature
  • Genres:
    Thriller, Drama
  • Runtime:
    1 hour 13 minutes 32 seconds
  • Completion Date:
    August 31, 2016
  • Production Budget:
    180,000 USD
  • Country of Origin:
    China
  • Country of Filming:
    China
  • Language:
    Chinese
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
Distribution Information
  • Tencent Video
    Country: China
    Rights: Internet, Pay Per View
Director Biography - Jie ZHU

JIE ZHU is an award winning director with credits in Documentary, Feature Films, New Media and Commercials.
For more than a decade he has worked as a writer, producer and director on various productions including documentaries, feature film and Web-Series.
The 2015 film Crosscurrent, which he co-directed, has won the Silver Bear award at Berlin Film Festival.
Jie’s other works including award-winning documentaries South of the Ocean, When Louvre Meets the Forbidden City, A Century of Cars, and new media short film Yohji Yamamoto.

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Director Statement

The notion stems from Sartre's No Exit : three people are locked in a room with no mirrors, thus in order to see oneself clearly, one must rely on others. But both what they perform in front of others and what they perceive of others exist always in contradiction, with an unbridgeable gap in between. Lingdang finds herself precisely in such quandary. A quandary, in which many others, although often unaware, also find themselves trapped. There are no mirrors in life - could memory, one that carries so much personal emotion, become a mirror for one to seek oneself out? Yet what if one's memory depends solely on the description of others?