Feng cannot draw a picture anymore and even sleep at night, since no inspiration comes to him. A woman passes by before him staying up every night. She is sometimes visible or invisible, and touchable but intangible. She keeps hovering around Feng.

I first met Feng Zhengjie during the winter three years ago. Back then, I used to go to art galleries every night, driven by an obsession for creating. Thus I frequented galleries every week like I would a lover. One day, I arrived a bit early and came across a sensual painting of a woman with large eyes. It was the work of Feng Zhengjie, the flare of Chinese modern art. Once I got to know him (by accident) he turned out to be a truly formidable person, although I had expected as much after seeing his paintings. He went far beyond his usual characterization as the ultimate aesthete, and possessed a surprisingly large range of artistic experience and inspiration. He was armed, without doubt, with a rich background of cultural refinement, as well as talent as an actor. Even after having worked on a film with him, I still find it difficult to say that I ‘know’ him – his world of art yet remains far too large and deep for me to fathom. The intensity with which he absorbs the audience, and his enchanting yet labyrinthine expression, together result in a heartache in those who watch him.
This film is a work that is segmented into images and sounds. When I decided to work with Feng Zhengjie, I wanted to express the changes in the camera’s subject matter through sounds, while expressing Feng Zhengjie’s gaze through images and dreams. It was a difficult task, but I made the bold decision to destroy the narrative, and focus solely on the artist’s inner world, and images and dreams. Thus the screen was divided into two, then became whole again, and created a new self and alter ego. Thus began a new challenge in film.

2015 제16회 전주 국제영화제 월드프리미어 상영 / 코리아 시네마 스케이프 부문 상영