Private Project

I thought tomorrow we'd go for a walk

A depressed woman stays indoors for days without end. Her avoidant partner, unsure of what to do, goes about his daily routine.

  • Eddy Wang
    Director
  • Eddy Wang
    Writer
  • Eddy Wang
    Producer
  • Ammar Almarzooqi
    Key Cast
    "Man"
  • Kasia Peruzzi
    Key Cast
    "Woman"
    The Maidenswood
  • Eve Cavanagh
    Sound
  • Ryan Akler-Bishop
    Cinematographer
    Screaming in Plastic
  • Project Type:
    Short, Student
  • Genres:
    indie, anti-romance, slice-of-life, drama
  • Runtime:
    17 minutes 23 seconds
  • Country of Filming:
    Canada
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    4:3
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    Yes - University of Pennsylvania
Director Biography - Eddy Wang

Eddy Wang is an interdisciplinary artist currently based in Philadelphia, Pennsylvania and Toronto, Ontario. He conceives of his practice as a heart with two valves that pumps out film and music. Currently, he is interested in everyday gestures, early Chinese-American folk music, the Asian American domestic, and creative programming. He holds a MA from the University of Toronto, where he wrote his thesis on love and cinema. He is half of the indie band Ira Dot (whose debut album will be released in 2025 with label Second Spring), is a part of the Toronto Experimental Translation Collective, and is currently pursuing a PhD at the University of Pennsylvania .

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Director Statement

This is quite a personal story. It's a film that tries to wade through that confusing terrain of race, gender, and depression within a relationship.

"I love you, but I'm not sure what to do here." The film stays in that place of hesitancy. Day-after-day, that sense of stuckness becomes so normalized it turns into the defining feature of everyday life.

I wanted this film to be about the experience of living with someone who was depressed. Not in the beginning stages of the condition, when a couple can talk, when there's hope that grand gestures of love can fix things. Instead, the depression on screen here has existed for months, perhaps years. There's nothing left to talk about. But life still has to be lived. How though? I wanted the film to capture this feeling of confinement that gradually becomes the norm. This film is a snapshot in two characters' lives at a point where the weight of depression has damped both of them, made them neutral and affectless, accepting that this may be the only world they will both ever know.