Private Project

Namesake

Wedding photographer Wen-chien captures daily life through photography. One day, he realizes that, even in the digital age, memories may not be preserved.
Ai-Lu, a makeup artist lost her parents in an earthquake and she's afraid of being forgotten ever since. After a car crash, she ends a toxic relationship, determining to live on her own terms.
The two, carrying their own pasts and thoughts, meet at a cinema. To Wen-chien's surprise, he discovers that Ai-Lu shares the same name as his ex, and he can even see their similarities sometime…

  • Yung-Chi Chen
    Director
    The Painting of Evil
  • Yung-Chi Chen
    Writer
  • I-tshing Iu
    Writer
  • Bo-Tsun Kuo
    Producer
  • River Huang
    Key Cast
    "Chang Wen-chien"
  • Lily Lee
    Key Cast
    "Chen Ai-lu"
  • Public Television Service Taiwan
    Distributor
  • Project Title (Original Language):
    同名同姓
  • Project Type:
    Feature, Television
  • Genres:
    Fiction
  • Runtime:
    1 hour 19 minutes 20 seconds
  • Completion Date:
    November 19, 2023
  • Production Budget:
    11,000 USD
  • Country of Origin:
    Taiwan
  • Country of Filming:
    Taiwan
  • Language:
    Mandarin Chinese
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Yung-Chi Chen

CHEN Yung-chi has made four short films in various film genres. His first feature film, The Painting of Evil, was selected for the Tokyo International Film Festival and the International New Talent Competition of the Taipei Film Festival.

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Director Statement

Several years ago, I experienced a car accident and rollover on the highway. Following that, my hard drive containing crucial photos crashed, leading to significant anxiety about life and memory. Initially wanting to use photography to prove my existence, now even the tools for storing memories are unreliable. How can we prove that those days existed, especially when memories fade with age?

This inevitably leads to a pessimistic view that everything will eventually disappear, and human civilization will not endure. Efforts to document the present feel like trying to grasp flowing sand, destined to turn into nothingness one day. What about cinemas? Will they be replaced, just like those things from the past? In this age filled with an apocalyptic sense, as a filmmaker, I wish to infuse some long-lost sentiments into this post-pandemic love story.