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POLISHING 《打磨》

In Tibet, people believe the highest and most appealing mountain in their region is a symbol of Buddha and wellness. They pray, travelling alongside the mountain trails all the way from the bottom to the top. In the city, everyone is working toward their own Himalaya; a journey made with effort through prayer and polishing for a better life.

  • HAOCHENG WU
    Director
  • HAOCHENG WU
    Writer
  • University of Arts London
    Producer
  • London Contemporary Dance School
    Producer
  • LYNN DICHON
    Performer
  • CATALINA JACKSON-URUENA
    Choreographer
  • MO HAN FENG
    Cinematography
  • HAOCHENG WU
    Cinematography
  • VICTOR YAU
    Lights
  • ZONG YANG
    Music
  • HAOCHENG WU
    Edit
  • CATALINA JACKSON-URUENA
    Edit
  • MO HAN FENG
    Edit
  • VICTOR YAU
    Edit
  • HAOCHENG WU
    Soundeffect
  • CATALINA JACKSON-URUENA
    Soundeffect
  • MO HAN FENG
    Soundeffect
  • VICTOR YAU
    Soundeffect
  • Project Type:
    Experimental, Short, Other
  • Runtime:
    3 minutes 56 seconds
  • Completion Date:
    December 8, 2018
  • Production Budget:
    600 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
    Chinese, English
  • Shooting Format:
    Digital, 1920 × 1080, MOV, H.264
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    Yes
  • Frame Rush: A Place for Screendance
    London
    United Kingdom
    March 16, 2019
    London premiere
    Official selection
Director Biography - HAOCHENG WU

HAOCHENG WU is a Chinese filmmaker based in London. He graduated from Central Saint Martins and currently studying MA Animation at Royal College of Art. He works across multi-disciplines in moving image, which includes 2D&3D animation, mixed media, live-action, and live performance projection.

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Director Statement

People speak different languages and have a different cultural background; often it is difficult to communicate and understand one cultural idea correctly through a foreign language or translation. Visual language is the universal language to engage with all different viewers, where it is powerful as any kinds of language regarding emotional connection or communication. In my works, I use my visual language sincerely to build emotional relationships, to deliver values and to tell a story. They offered instead of authority and brought together of personnel, offering impermanent and incomplete provisional space and time to balance (rather than directly challenge) dominant cultural forms and tools with something personal, shareable, intended and meant.