Editor
은 코로나19가 확산되던 2020년 봄 전면 봉쇄되었던 중국 우한시의 내부 모습을 담은 다큐멘터리 영화이다. 우한시의 무력 대응과 중국 정부의 정치적 무능을 기록하였다. 우한시의 일반 시민들이 촬영한 영상으로 만들어졌다. (2021년 제22회 전주국제영화제) 은 76일 동안 봉쇄됐던 코로나19 바이러스 발원지 중국 우한의 내부 풍경을 보여주는 다큐멘터리다. 외부에서 우한으로 들어가는 험난한 여정으로 시작해 삼엄한 병상의 분위기와 지쳐가는 의료진의 모습, 물자를 시민들에게 보급하는 손길, 그리고 공산당 등 당국의 전시성 행사까지 생생하고 다양한 움직임이 담겨 있다. 이 영화 또한 숱한 코로나19 관련 다큐멘터리처럼 집단 창작의 힘을 빌었다. 수많은 시민들이 촬영한 우한 시내의 모습은 중국 정부의 간섭을 피해 유럽에 거주 중인 세계적인 예술가이자 인권운동가인 아이웨이웨이에게 전달되어 완성됐다. 고난을 헤엄치는 우한 시민들의 정부에 대한 냉소적인 시선 또한 잘 담겨 있다. 전주에서 상영되었던 그의 전작 (2017)에서처럼 드론으로 촬영한 영상들도 인상적이다. (2021년 제22회 전주국제영화제/ 문석)
Editor
As a sequel to Ai Weiwei’s film "Disturbing the Peace," the film "So Sorry" (named after the artist’s 2009 exhibition in Munich, Germany) shows the beginnings of the tension between Ai Weiwei and the Chinese Government. In "So Sorry," you see the investigation led by Ai Weiwei studio to identify the students who died during the Sichuan earthquake as a result of corruption and poor building constructions leading to the confrontation between Ai Weiwei and the Chengdu police. After being beaten by the police, Ai Weiwei traveled to Munich, Germany to prepare his exhibition at the museum, Haus der Kunst. The result of his beating led to intense headaches caused by a brain hemorrhage and was treated by emergency surgery. These events mark the beginning of Ai Weiwei’s struggle and surveillance at the hands of the state police.
Editor
"Ordos 100" provides a picture of an Ai Weiwei at the pinnacle of his artistic fame, but not yet in the political hot water that was to give him a different kind of notoriety. The film centers on a grand architecture project in Ordos, to be designed by Ai Weiwei.
Cinematography
"Ordos 100" provides a picture of an Ai Weiwei at the pinnacle of his artistic fame, but not yet in the political hot water that was to give him a different kind of notoriety. The film centers on a grand architecture project in Ordos, to be designed by Ai Weiwei.
Producer
The documentary depicts a complete picture of a chain in the cat-trading industry. Since the end of 2009 when the government began soliciting expert opinion for the Animal Protection Act, the focus of public debate has always been on whether one should be eating cats or not, or whether cat-eating is a Chinese tradition or not, there are even people who would go as far as to say that the call to stop eating cat meat is "imposing the will of the minority on the majority". Yet the "majority" does not understand the complete truth of cat-meat trading chains: cat theft, cat trafficking, killing cats, selling cats, and eating cats.
Editor
The Shanghai authorities rejected Feng Zhenghu, originated from Wenzhou, Jiejiang, China, from returning to the country for a total of eight times in 2009. On November 4, 2009, Feng Zhenghu attempted to return home for the ninth time but the police from Shanghai used violence and kidnapped him to board a flight to Japan. Feng refused to enter Japan and decided to live in the Immigration Hall at Terminal 1 of the Narita Airport in Tokyo, as an act of protest.
Director
Wang Fen’s father is a small-time railway bureaucrat who’s had many extramarital affairs; her mother claims not to have a single good memory of her married life with him. Funny how a 30-year-marriage can sound so different when described by separate parties in separate interviews. Wang captures her parents’ broken marriage with a carefree, humorous yet somehow also critical perspective, lacing her film with pop music from their generation.
