Private Project

Blind

Water is connected to death, and fog symbolizes the sensory experiences of "blindness" and the "invisible." By drawing frame-by-frame animations on glass plates and utilizing the fluidity of water-based materials, the images, beneath perception and awareness, present the faint consciousness of children under the shadow of war. It's like being in a hazy mist, blinded, able only to feel the trauma and pain brought by war. The film is about war, about nature, about children, and maternal love.

  • Project Title (Original Language):
    水雾
  • Project Type:
    Animation, Experimental, Short, Student
  • Runtime:
    3 minutes 55 seconds
  • Completion Date:
    June 1, 2024
  • Production Budget:
    3,600 CNY
  • Country of Origin:
    China
  • Country of Filming:
    China
  • Language:
    No Dialogue
  • Shooting Format:
    4K UHD 16:9 25fps
  • Aspect Ratio:
    16∶9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    Yes - 中国美术学院
Director Biography

Yihan Wang, a Master of Experimental Animation from the China Academy of Art, currently works and lives in Hangzhou.

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Director Statement

This short film is my graduation project during my postgraduate studies. Due to suddenly becoming aware of the wars and chaos outside the safe world I inhabit, I addressed the cruel reality of "war" for the first time in my creative work. From initially being unable to find a foothold for creation to completing this film, the entire process was accompanied by a subtle sadness and unease.
Children and maternal love are, in my view, the purest things amidst war. Using this as a fulcrum, I constructed the blinded, insignificant, and suffering existence of children under war. While painting with watercolors, I metaphorically transformed the flowing colors into real war weapons like white phosphorus bombs, hoping that through symbolic expression, I could convey the faint consciousness of suffering children in war.
The creation time for the film was relatively short, and there are still many shortcomings in production. However, in the frame-by-frame glass painting, I felt a touch of self-healing. The film had almost no pre-production and included many improvised images, making it a very special experimental animation journey for me as a creator.