camera,hysteria a go-go!

I am a Chinese student who came to Japan to study film director in 2019. I have studied performing arts since I was a child, and after high school, I went to Guangzhou to study modern dance for six years. So, in the past, whether I created my own dance or performance, or my own photography (in my first year in Japan, I studied in photography. Later, I felt that the expression of photography was not enough for me, and the next year I changed to a film director major), always full of poetry, or rich symbols and artistic conception are my own characteristics and creative habits, like the previous Impressionist painters' response to industrial civilization, I have always tried to use my works of art to guide people from an abnormal and high-pressure information civilization and a commercialized social form to a natural state of life.But this year I have been influenced by two great Chinese film directors who constantly break through themselves, are always loyal to their own expression, and do not compromise with secular and commercial standards. The two film directors are Lou Ye and Tsai Ming-Liang. I tried to break through my past creative ideas that were far away from reality or just creating artistic conception. I tried to embrace the real world I faced tightly this time——even though Tokyo or the whole of Japan has been tested and tortured by the epidemic for more than a year.Japan has always been a country with greater realistic pressure than China, and people in work and life are very hard. Under the epidemic of more than a year, we can not only see that the decline of GDP is the most serious after the World War II, but as an art creator, I also integrate the atmosphere of Tokyo today into my works from some subtle details that are not often noticed and the silhouette of the Japanese reality in this special period. Share my film with the audience of the motherland, or anywhere else in the world.

In fact, I have thought for a long time that nature will always give humans a huge test at an unknown but specific time, such as the Spanish flu in 1918.And then without any signs or reasons to leave.Perhaps nature feels that it is time for human beings to raise their resistance and immunity to a new level, so human beings are forced to meet a test that looks extraordinarily cruel, not just a physical test,at the same time, the spiritual world also has to meet an unknown adventure. Then, humans has always been sublimated in every historical test.

The work submitted this time did not choose to use too many cooperative staff to participate, which is also deeply influenced by the high "author characteristics"（作者性） of director Tsai Ming-Liang's later works and his idea of downplaying the complicated technical division of labor. In addition to the soundtrack work of the short film, I took on all the technical work myself, and only invited three Tokyo classmates and friends to participate in the creation of the work as actors. And the structure of this film is also quite special. I call it “featu-mentary”, which means that it not only has the creation and design of feature films, but also contains a considerable part of the characteristics of documentaries. The high degree of freedom of structure also makes my shooting content as close as possible to the core and most honest self-expression, and the shooting technique is thus flexible and free,very often, when I think it is necessary, I have the courage to shoot with a hand-held camera instead of a fixed camera. And whether the people filmed in this film have obtained their permission in advance ,I spent some time reflecting on this question, and then I gradually realized that I began to study still photo photography by myself in 2015. And the static photography major, which spent a year in college in Japan in 2019, must have an influence on myself that has gone deep into the subconscious. I used to like to take to the streets to capture the state of people in an instant. Still photo photography and movies are different art forms, but I think if still photo photography can do this, why can't movies? Many great still photo photographers are well aware of the significance of doing this, such as Henri Cartier-Bresson, André Kertész, or the more controversial Bruce Gilden. At least one aspect of their understanding is exactly the same as mine, that is, recording what the subject looks like in a living state of an era without any prior contact with the subject is the best way to retain the precious original appearance of the human soul. Only such photos or images can really give the viewer the most natural and profound revelation.

Nowadays, Japan, no, I think, is about the same all over the world, under an unexpected and serious epidemic, from visible and actual material life to people's spiritual and emotional world, they have all undergone a torture and test. I see people in front of the eyes of Japan where I live as creative objects, apart from hoping to look at people with a deeply sympathetic eye, I also hope that through this short film, in such a special period in which people's spiritual and emotional world is gradually becoming more and more alienated and indifferent, re-recognize the emotional necessity of human beings.And my film is also to hope to work with people in Japan and everywhere in the world after such a sudden disaster to pick up faith with a baptized and exhilarating spirit,and re-believe in love!