HANNYA

Roy's emotional burden comes from my real experience. Maybe we were both longing for a significant male identity and to take me out of my oppressive environment. But it didn't work out. It turned into hate. When I was in primary school, I experienced my parents' divorce, and my complicated feelings towards my father or men were realized in the film. 

I like closed scenes, but there is a link to the outside world, a real sense of fault. Because their status reflects the ecological status of mainland China and the fate of my personal struggle. For example, the dance hall in the film is a marginal place under the rapid development of Chinese society. People who have been forgotten by The Times and have been hurt will seek comfort here, just like the characters in the story, she can feel her past as long as she appears in the scene. 

In the real scene, we will put a lot of design issues to the scene itself, such as what class is here, what people are usually doing here, why they appear in this place. Because I like to survey and take pictures, I have accumulated a lot of materials, both visually and in terms of story inspiration. To a strange scene, there is often a sense of familiarity, a "threshold space", like to stay and observe, the scene will bring me great passion and express the inner emotions. For example, the interior and exterior scenes of the film are the locations left by the usual visit, and I stayed to observe each corner of their space and the meaning of each object element, as if they represent a symbol and have happened in the past. 

The places of the film are as real as they are, like lost history, an unresolved but forgotten past that is now being evaded. These scenes are places of evasive resistance.