SICHUAN HAO NUREN (THE GOOD WOMAN OF SICHUAN) is an experimental film that navigates the languages of exile and femininity. The film journeys through an amorphous structure of space and time, albeit seen through the specific locale and era of the contemporary Sichuan province. Whilst the film meanders with a sense of inconsistency, fluidity and circularity, one can still vaguely recollect the happenings.
In the film, I look at obscure dreams, amorphous memories, and contradictory desires.
As an artist writing between lands and working between forms, I am interested in reinventing a material language that revives itself in the experience of encounter and reimagination. With this calling as a forward momentum, the film guides itself within a transient state, forming a language in the process and a subjectivity of its own in searching. It is utterly unaware of the process, with its own limitations and possibilities unknown. In the film, I look at obscure dreams, amorphous memories, and contradictory desires. They offer me neither clarity nor linearity; both time and locale are abstracted and distorted. The film is a process of our journey. The mysterious nature of the process, the dreams, the past and the future are unpronounced, as they are unstable and contrapuntal.
