Private Project

One Poem, One Song

A beggar living on alms and salvaged DVDs plants the seeds of a love for cinema in a group of mischievous children.

  • Qian Chen
    Director
  • Project Type:
    Short
  • Runtime:
    27 minutes 2 seconds
  • Completion Date:
    September 2, 2024
  • Production Budget:
    20,000 CNY
  • Country of Origin:
    China
  • Country of Filming:
    China
  • Language:
    Mandarin Chinese
  • Shooting Format:
    Digital
  • Aspect Ratio:
    4:3
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Qian Chen

Director Chen Qian was born in a small city in northwestern China, a region with a rich Muslim heritage. The deeply religious atmosphere of his upbringing planted seeds of curiosity and introspection in his mind. After graduating from Sichuan University of Media and Communications, he moved to Beijing, where he worked for a year as an assistant director, two years as a deputy director, and another two years as a professional screenwriter. Realising that the online films he was involved in vastly differed from true cinematic creations, he decisively returned to his hometown, Yinchuan, to independently write scripts and consistently produce short films. His traditional Chinese upbringing, combined with a love of Western film and music, sparked profound reflections and questions about cultural intersections. This is also the theme of his upcoming feature film debut.

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Director Statement

In 2018, my grandfather passed away. At his funeral (a Muslim service), I noticed many unfamiliar faces. Later, I learned these were beggars who attend such services to collect alms, as it is customary for attendees to receive money. Fascinated by this group, I wrote a feature-length screenplay, of which this short film is an adaptation. The protagonist is one such beggar who, although not Muslim himself, makes a living within the community. This has brought him a peculiar sense of peace despite his disability.

This work reflects my complex emotions as a Chinese filmmaker. The state’s near-draconian control over cinema has left true film enthusiasts paralysed, like crippled ghosts surviving between faith and sustenance. The loss of a rebellious spirit divides people into two camps: the apathetic and the resentful. This evokes both pity and hope—though prospects may seem dim, a small flame of passion still burns within those who love cinema. I’ve used chimney imagery throughout the film as a tribute to the vibrant spirit of Chinese cinephiles.