Tag Archives: film

Young Romance



“He asked me to be his girlfriend. I thought it was too soon. Like, we had been talking for just a week. Then he cried, tears fell down his face. I didn’t know what to do. I’d never had a boyfriend. So I was like, well, okay then.”


Naive confessions, ambiguous interactions, foolish first loves: as we’re reliving our youth through the people on screen, a pair of hands suddenly enters the frame with a yell of “Cut!” abruptly interrupting the story.

#BKKY is a creatively shot narrative documentary by Nontawat NumbenchapolThe four letters of the title stand for Bangkok Youth, and in making the film, the director interviewed a hundred 17- to 20-year-olds living in Bangkok from across the gender spectrum. In front of the camera, they open up about how they see their youth, their dreams, and their struggles. Drawing on these interviews, the film introduces a character named Jojo, blending fiction and reality and breaking with traditional modes of storytelling.



青涩的告白、暧昧的互动、懵懂的初恋…… 在我们通过电影缅怀青春之余,一双手突然插进画面,“卡!”,打断了故事的进行。《#BKKY》(《曼谷青春纪事》),四个英文字取自 Bangkok Youth(曼谷青年),是一部以创新手法拍摄的剧情纪录片。导演 Nontawat Numbenchapol 总共访问了一百位十七到二十岁、生活在曼谷的青少年,他们广布在性别光谱的不同位置上,在镜头前,向我们倾诉他们眼中的青春、梦想、与自我的挣扎。电影以这些访问素材为基底,再编织出一个角色 Jojo,虚构的剧情与真实的访谈段落交错进行,打破传统的叙事模式。

Numbenchapol’s first documentary, Boundary, focuses on the border between Thailand and Cambodia, while his second, By the River, takes a look at the mining industry. “The feature documentaries I made were very political and very serious, so no young people in Thailand went to see them,” he says. “That’s how I got the idea to make #BKKY, a documentary for teenagers. I really wanted to be up to date on what’s going on nowadays. It’s kind of my area of research.”

To find people to interview, he crisscrossed Bangkok, going to schools, malls, anywhere young people hang out. Out of everyone he interviewed, the one who made the biggest impression on him was Jojo, whose story inspired the course of the entire film. “She’s very open, clever, and lively, and her gender is very fluid as well,” notes Numbenchapo. “When she told me she’d been keeping a diary for several years, I asked her if I could read it, and she said yes! I was so inspired that I started writing a script, mixing it with the other interviews.”

在导演 Nontawat Numbenchapol 先前的两部纪录片作品《Boundary》(《边界》)、《By the River》(《河畔》)中,分别探讨了泰国柬埔寨边境、矿产工业的问题,“这两部纪录片都非常政治性和严肃,没有年轻人愿意看。所以我才有了拍摄《#BKKY》的想法,我想要知道现在年轻人的生活,一部份也算是我的研究。”

于是他穿梭在曼谷各处,任何年轻人聚集的地方如学校、购物中心,找到了访谈的对象,其中让他印象最深刻的 Jojo,也是后来影响了全片走向的人,“她很开放、聪明、活泼,性别认同是流动的。当 Jojo 跟我说她一直保有写日记的习惯时,我问她能不能让我看,而她答应了!我从中获得很大的灵感,所以就开始进行这部片的剧本,之中再加入先前的访谈段落。”

Through the film, we can see the most open-minded side of today’s Thai youth. Their fluid sexual orientation and gender identities reveal the diversity of romantic and sexual relationships in contemporary Thailand. But this open-mindedness is not welcome everywhere. To conform to traditional values, many people still choose to live hidden lives. As a boy in the film who dreams of changing his sex asks, “If other boys found out I was trans, what would they think?”

通过电影,我们看到了这个时代的泰国青少年最坦率的一面。他们流动的性向与性别认同,揭示了泰国时下多元的爱情与情欲关系。但这股开明的风气并不是处处受到欢迎,为了迎合社会的传统价值观,许多人依然选择隐瞒。就如同电影中一位梦想着变性的男孩所说 “如果被其他男生发现我变性,他们会做何感想?”

In Numbenchapol’s view, Thai society today is very open. “Maybe that’s because of the internet and social media,” he speculates. “Every young person is unique, and they all have many choices. That’s very different from my generation. We had no choices, and we were always told what to do and what not to be by parents or teachers. And everyone looked the same. But now young people are very different, even though parents, schools, and the media are still the same, conservative and not very open. Sometimes I feel they have too many choices, and that makes them confused, in gender issue too.”


Young people still don’t understand the direction of the future, but compared to those of us who have already grown up, they seem fearless. So what does growing up mean? In the film, the interviewees all offer different explanations.

“I don’t know. I’m not sure if people actually discover themselves before they die.”

“I really don’t know what my passion is. Some adults also haven’t figured that out.”

“I didn’t set my dreams too high. I just live my life. Growing up is just having a family, having kids, just working or hanging out sometimes,” he muses.

They express some concern, but they still face themselves honestly, and they accept without guilt those deepening desires that come with growing up. Standing before the unknown, they nevertheless opt to be calm, and perhaps this nonchalance is a sort of rebellion unique to youth, a way for them to fight against the system.

这个年纪的他们还不明白未来的去向,但与我们长大的人相比,却显得无所畏惧。所以, “长大是什么呢?”





Website: www.mobilelabproject.com


Contributor: Yang Yixuan

网站: www.mobilelabproject.com


供稿人: Yang Yixuan

Generation Q

As the fight for equality and mainstream acceptance continues for LGBTQ groups, cinema has become an important medium in sharing authentic vignettes of the queer experience. Filmmakers from all over the world are using cinema to invite discourse on the injustices being faced by these sexual minorities. With the second annual Shanghai Queer Film Festival kicking off on September 21st, we take a look at a few of our favorite short films that’ll be shown this year.

随着 LGBTQ 群体(同性恋、双性恋、跨性别者和酷儿)争取平等和主流认同等运动的持续推进,电影,也成为了分享同性恋经历真实片段的重要媒介。来自世界各地的导演及电影人,正试图以电影来引起人们对这些性少数群体所面临的、不平等也不公正的境遇进行讨论。在第二届上海酷儿影展开幕之际,我们选取了几部将会于现场展映的短片电影,以一窥在亚洲地区 LGBTQ 群体的生活。


Slingshot Prince / 《拿弹弓的王子》



The story takes place in 1995 in a small southern China village.

At the center of the film is a 12-year-old tomboy who’s been ostracized by her community for being unfeminine. Loathed by neighbors and family’s alike, the misunderstood protagonist feels cornered by the village’s archaic views on gender. Boys her age pick on her and shame her for being different. Her family, embarrassed by her “eccentric behavior,” is equally unsupportive, shunning her while they coddle her younger brother.

那是在 1995 年中国南方的一座小村。

12 岁的女主人翁是个中性打扮的假小子,言行举止与传统温良贤淑的小姑娘差别迥异。但在传统思想的禁锢中,这个特立独行的姑娘并没有得到来自家人和邻里的理解和尊重,大家眼里的她并非个性,而是怪异——家人感觉脸上无光,对她的弟弟更宠爱有加;而同龄的男孩子,却因她的不同而百般不爽,借机羞辱了她一番。

Slingshot Prince by Lin Sixin
Slingshot Prince by Lin Sixin

Slingshot Prince isn’t completely fictional. Director Lin Sixing based the film on real-life experiences—a blend of childhood memories and fictional plot elements. Arriving at the filming location, a village seemingly stuck in the 90s, Lin says all of his memories from his youth came flooding back to him: “The location, colors, lighting, and even sounds really brought me back to my childhood and reminded me of how I viewed the world back then.”

At the turn of the century, China’s economy and society underwent massive changes, and the village where Lin was born wasn’t exempt from the effects of modernization. “In a radically shifting society, self-doubt not only comes from within. It stems from a misbalance of societal validation with self-affirmation,” Lin states. “And those indoctrinated by the Confucian Ideal of Great Harmony repress their desires to express their individualism.”

By the end of the film, the tides turn for the protagonist—she stands up for herself, getting her revenge by picking off each of the boys who humiliated her with her slingshot.

这《拿弹弓的王子》(Slingshot Prince)的故事绝非“纯属虚构”。对导演林思新来说,这部电影来源于他的少年经历,真实的过往和虚构的电影情节交杂。而影片背景设置在 90 年代的村镇,则“真正还原”了导演对那个年代的记忆——“不论是拍摄场地,色彩,光线,或者是声音,全部都如实地还原了我少年时对这个世界最初的认知。



Slingshot Prince by Lin Sixin


Sorry for the Inconvenience /《抱歉打扰了》



In rural towns and villages where queer culture hasn’t quite been accepted, it’s not uncommon to see discrimination or even acts of violence against LGBTQ individuals. This is especially common in Asia-Pacific and Africa, where, statistically, sexual minorities have been the most marginalized groups in society.

These experiences are brought to light in Filipino director Carl Chavez’s Sorry for the InconvenienceThe short film is centered around Joshua, a timid teenager who’s bullied by classmates for not being masculine enough. In a fit of rage, he exacts revenge on them but things don’t go as planned. Desperate, he turns to his father, a local policeman, for help.


无独有偶,来自菲律宾的导演 Carl Chavez 也在影片《抱歉打扰了》(Sorry For The Inconvenience)中叙述了类似的经历。在他的影片里,害羞胆怯的少年 Joshua 被同学霸凌,尽管复仇的火焰一经萌生就再难浇灭,但实际操作起来却有重重阻碍。无奈之下,他只能寻求自己当警察的父亲的帮助……

Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez
Sorry for the Inconvenience by Carl Chavez


Pink Pill /《粉色药丸》



No matter if its gender identity or sexual orientation, anyone who deviates from the norm can easily find themselves shamed and vilified.

The film Pink Pill takes place in a small riverside town in Sichuan. Zhang Ke, the main character of the film, is a high school sophomore whose secret relationship with Chen Xue, a female classmate, is outed after her diary is read out loud in front of the class. As a result, Zhang is maliciously bullied day after day.


《粉色药丸》(Pink Pill)发生在四川一个江边小城,高二女孩张鹤的日记被人发现,旋即被堂而皇之地念了出来。她与另一个陈雪之间的暧昧关系,从此昭告天下。随之而来的,是无尽的恶意。

Pink Pill by Xie Xiaoshan
Pink Pill by Xie Xiaoshan

Li Bo is one of Zhang Ke’s classmates with a long-time crush on her. He’s heartbroken seeing her bullied daily. Even though he’s normally timid and passive, he steps up, getting into fights to protect her. As the two grow closer, Li starts imagining that maybe his love can change her. What if sexual orientation was like a typo, something that can be easily corrected?

As the film progresses, Li’s frustration reaches a boiling point. His originally good-willed intentions transform into a selfish desire to change her. He yells at Zhang, denouncing her sexual orientation and calling it an illness. The story leaves viewers pondering just how much intolerance and bigotry exists in this world, hiding in plain sight.



Pink Pill by Xie Xiaoshan

For this year’s Shanghai Queer Film Festival short film competition, the featured films explore different LGBTQ perspectives from all over the world. Together, these vignettes paint a larger narrative around the state of modern society and how LGBTQ culture has been molded by the countless hurdles and obstacles faced by individuals along the way.

在本次“上海酷儿影展 SHQFF”中的亚洲短片竞赛单元里,我们会看到更多发生在亚洲的性少数人群的故事,以及他们所代表的 LGBTQ 文化,究竟是如何在一次次反抗和碰撞中显形的。

Photographer / 摄影师: Cao Feng

As gender identity and sexual orientation becomes increasingly blurry in modern times, the meaning of queerness equally demands greater diversity. Through cinema, SHQFF hopes to not only portray the reality of the LGBTQ experience, but it aspires to bring about much-needed change in the world.

This year, the second annual SHQFF will take place between September 21st and September 26th. Themed around the concept of “Generation Q,” the featured films looks to offer a well-rounded perspective of queer culture in modern times. Apart from the screenings, panels and various discussions will also be held during the event.


今年,第二届上海酷儿影展将于今年 月 21 日至26日隆重回归。本届影展决定将眼光放至更多元的维度,以“Generation·Q·世代为主题,和观众一起通过来自不同文化的精彩酷儿影片,见证光影中的酷儿迭代。而在影片放映之外,第二届上海酷儿影展还将为大家带来精彩纷呈的映后讨论及论坛。

Website: www.shqff.org
WeChat: SHQueerFilmFestival


Contributor: Chen Yuan
Images & Videos Courtesy of SHQFF 

网站: www.shqff.org
微信: SHQueerFilmFestival


供稿人: Chen Yuan
图片与视频由 上海酷儿影展 提供

Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”

许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”



Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”

许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”

许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”



In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


Website: www.anrongxu.com
Instagram: @anrizzy


Contributor: George Zhi Zhao

网站: www.anrongxu.com
Instagram: @anrizzy


供稿人: George Zhi Zhao




taipeilove* is a documentary from Berlin-based filmmaker Lucie Liu that follows the LGBT movement in Taipei, Taiwan. The film shares the experiences of three individuals and their struggles with traditional expectations from family, religion, culture, and society set against the backdrop of Taiwan’s initiative to legalize same-sex marriage.

在纪录片《taipeilove*》中,柏林电影制片人 Lucie Liu 用镜头记录了台北的同志运动。影片记录了在台湾同性婚姻合法化倡议的背景下,三个人的经历以及他们与传统家庭、宗教、文化和社会间的斗争。

The idea for taipeilove* first came about when Liu visited the Taiwan Pride Parade in 2016. She shares, “I got in touch with a group of Koreans and some Japanese men. Independently from one another, they told me how they would come to the Pride every year and how these visits were the only few days in the year where they could be completely free and open about their sexuality without fearing repression. That was the time I realized how important Taiwan’s fight for marriage equality truly is on a larger scale.”

Lucie 第一次有了拍摄《taipeilove*》的想法是在 2016 年参加台湾骄傲游行(Taiwan Pride Parade)的时候。她回忆道:“我当时认识了一群韩国和日本男同性恋者。他们每个人都跟我说,每年都会来参加骄傲游行,游行的这几天是他们一年中最自由的几天,因为他们可以坦诚地公开自己的性取向,不用压抑自己。那时我才意识到台湾在争取婚姻平等这个问题上的重要性及影响之广。”

In October of 2017, Liu would arrive in Taipei to begin pre-production on the film. She would reach out to members and activists of the local LGBT community to hear their experiences – often encountering stories of pain, abandonment, exclusion, and even of attempted exorcisms. After speaking to dozens of individuals, Liu would be introduced to Sarah, one of the three main protagonists of the film: “Sarah had just come from a long shift as a nurse, but she was full of energy and very open, and this intrigued me. Kevin is one of her friends, and David is his life partner. So we had some long talks and decided to go on this journey together.“

2017 年 10 月,Lucie 抵达台北,开始影片的前期制作。她与当地 LGBT 社区的成员和积极分子联系,听他们讲述自己的经历,这些经历中往往掺杂着痛苦、遗弃、排斥甚至企图驱魔的故事。在与数十人聊过后,有人介绍 Lucie 认识了 Sarah,最终 Sarah 还成为了这部影片中的三大主角之一:“那时候 Sarah 刚刚完成长时间的工作,她是一名护士,但她依然精力充沛,态度也非常坦诚,这一点令我特别感兴趣。Kevin 是她的朋友之一,David 是他的爱人。我们聊了很久,最后决定一起拍这部影片。”

The pre-production of taipeilove* was initially financed by a German foundation, but due to the small amount of financial support provided, the project has since been driven mostly by the hard work and dedication of a small but passionate team of creatives and filmmakers. In addition to financial challenges, the documentary has stirred up strong reactions on social media, including harassment and homophobic messages from strangers. These challenges have only further intensified Liu’s mission to further educate the public about LGBT issues. Liu tells us, “I realized that messages from strangers on the internet as well as in conversations with elderly members of Taiwanese society all share the same thing: fear of change. It takes time, education and dialogue to overcome those fears and arrive in the 21st century, and to realize that same-sex love and marriage equality won’t cause anyone any harm.”

《taipeilove*》的前期制作最初由一家德国的基金会提供资金,但由于提供的资金很有限,主要都还是靠一小群满腔热情的创意团队和电影人在努力支持。除了财务方面的挑战之外,这部纪录片还在社交媒体上引起过强烈反响,收到过来自陌生人的骚扰和恐同留言。但这些挑战只会让 Lucie 更加坚定自己推广 LGBT 问题的使命。Lucie 告诉我们:“不论是互联网上那些陌生人的信息,或是与台湾社会老年人的交谈中,我发现他们都有共同之处:一种对变化的恐惧。我们需要时间、教育和对话来帮助他们克服这些恐惧,去真正进入 21 世纪,去明白同性爱情与婚姻平等,不会对任何人造成任何伤害。”

In 2017, the Constitutional Court of Taiwan ruled that same-sex couples should have the right to marry. Liu tells us, “Taiwan is setting a great example here and I wish for the rest of Asia to follow. My documentary shows that there is hope for progression.” The taipeilove* documentary is currently in post-production and is planned to be made available for educational screenings at universities and NGOs, in addition to being screened at film festivals. If you would like to make a donation to help support post-production funding of taipeilove*, please visit their crowdfunding campaign at Indiegogo.

2017 年,台湾宪法法院裁定同性配偶应有权结婚。Lucie 说:“台湾在这里树立了一个很好的榜样,我希望亚洲其它国家也能效仿。我的纪录片也表明,这一切都是希望去取得进步的。”《taipeilove*》纪录片目前正在进行后期制作,除了在电影节上放映外,还计划在大学和非政府组织进行教育放映。如果您想进行捐赠,支持《taipeilove*》的后期制作经费,请访问他们在 Indiegogo 上的众筹活动。

First Generation



First Generation is a short film from directors Jeannie Nguyen and Andrew Yuyi Truong that showcases the Asian-American coming-of-age experience. Set in the 1990s, the film follows protagonist My-Linh, a young, misled Vietnamese-American girl who must decide how she will fit into the two worlds that she inhabits. With the absence of her overworked mom, she must rely on the guidance of her friends and the media to understand where she belongs.

《First Generation》是由 Jeannie NguyenAndrew Yuyi Truong 导演的一部短片,讲述的是亚裔美国年轻人的青春成长故事。影片故事发生在二十世纪九十年代,主角 My-Linh 是一位年轻且迷惘的越南裔美国女孩,如何融入自己所居住的两个世界是让她一直苦恼的问题。由于母亲的工作过于忙碌,对于 My-Linh 来说,她只能依靠朋友和媒体的指引,才能了解她的归属所在。

Initially sparked by the concept of showcasing Asian-American female style during the 1990s, the film was shot over the course of two long days in May of 2017. Jeannie tells Neocha, “We’re from the Bay Area, and we’re not too sure if the style spanned across the States, but it was unique and a somewhat rebellious way of presenting oneself – heavy set make-up, extra-wide baggy pants juxtaposed with tiny tank tops, hair done in half cornrows, and embellished with glittery butterfly clips. Looking back at it now, it’s interesting to us to see how this minority group rocked such a bold style. So after, we figured that we wanted to create a film during this time period and tackle issues of beauty and fitting in.”

这在 2017 年 5 月拍摄了长达两天的短片,最初的灵感是想展现 20 世纪 90 年代美国亚裔女性的风格。Jeannie 告诉 Neocha:“我们来自美国湾区,所以也不太确定当时的服装风格是不是在美国各地都流行,那是一种独特又有点叛逆的个性风格:浓艳的妆容,大号宽松的裤子搭配紧身的小背心,半侧头发扎着地垄沟辫(cornrow,非洲辫的一种),再别上闪亮的蝴蝶发夹。现在回想起来,一个少数团体会有这样大胆的风格,挺让人意外的,也挺有意思的。所以,之后我们就决定以这段时期为背景拍一部电影,探讨当时的审美风格和社会融入的问题。”

One of the primary themes of the film is the impact of mainstream media on identity, self-image, and perceptions of beauty. Jeannie shares, “As with many young minority females, when I was younger, I never truly understood how I fit in with society. With the media being a huge subconscious influence, I felt less of a woman when I saw blue-eyed, blonde models who were in every beauty commercial and graced the cover of every beauty magazine and. I was brainwashed by the media and started to resent my Asian descent. When we were represented in the media, we’re known as submissive and nerdy. Luckily, my mom canceled cable so I stopped watching television beginning my high school year, and I truly believe that helped me realize that the majority of things we’re exposed to is nonsense. With that idea in mind, we wanted to create a film that young Asian-Americans can relate to – a movie that can help them see through the bullshit.”

这部电影的主题之一,旨在探讨主流媒体如何影响人们的身份认同、自我形象和审美。Jeannie 说:“和许多少数团体里的年轻女孩一样,我年轻的时候一直都不知道怎样才能真正融入这个社会。而且媒体会对人们有巨大的潜意识影响,当我看到所有时尚杂志和广告中,总是出现金发碧眼的模特时,我会觉得自己不如她们好看。我被媒体洗脑,开始憎恨自己身上的亚裔血统。那时的媒体总是将我们描述成顺从且乖巧的书呆子。所幸我妈妈后来取消了有线电视,所以我在高一的时候就不看电视了,我真心觉得这才帮助我意识到,之前我们在媒体上看到的大部分东西都是无稽之谈。有了这个想法后,我们就想要拍一部年轻亚裔美国人有共鸣的电影,帮助大家看穿这些‘谎言’。”


Since its inception, NANG has defied the expectations of what a film publication can be. Foregoing run-of-the-mill movie reviews for creative storytelling, NANG offers original perspectives on the world of Asian cinema in each issue. The latest release, dedicated to the topic of fiction, pulls attention away from filmmakers and the process of filmmaking, instead casting a spotlight on the watchers of films. Enlisting the help of guest editor Amir Muhammad – an accomplished Malaysian writer, publisher, and filmmaker – Editor-in-Chief Davide Cazarro invites readers to ponder on how movies can take on a life of their own after they’ve been watched. Overall, the issue poses the question, “When we think about a movie we have seen, aren’t we also ‘making (or ‘remaking)’ that movie in the confines of our imagination?”

自成立以来,《NANG》杂志一直在颠覆电影杂志的传统定义。这本杂志的影评更具创意和前瞻性,在每一期中都提供了关于亚洲电影世界的原创观点。这期最新的杂志以“编造”为主题,并未将人们的注意力放在电影制片人和制作过程,而反将关注的焦点投向了观众。在担任客座编辑Amir Muhammad——他也是多才多艺的马来西亚作家、出版商和电影制片人——的帮助下,主编Davide Cazarro邀请读者一起思考有哪些方式可以让电影在上映后继续延续自己的“生命”?第三期提出的问题是:“当我们想到一部自己看过的电影时,我们难道不也是在自己的想象中‘创作’(或‘再创作’)那部电影吗?”

A diverse roster of writers and comic artists were invited to take the reigns of the third issue and share personal interpretations of their favorite Asian films. From inspired fan fiction and imaginary interviews to heartwarming comics and personal anecdotes, there was no shortage of creative bandwidth expended for the creation of Issue 3. “More than half of the writers chose movies that were not from their own country,” Muhammad writes. “[…] On a basic level, it just shows that movies travel easily. Movies from big industries travel even easier; growing up in Malaysia way before social media, I certainly knew of Amitabh Bachchan and Jackie Chan, but it would take more effort to get to know films from directly neighboring countries like Thailand and the Philippines.”

在本期杂志中,各种各样的作家和漫画家受邀在位,将以独特的视角,分享各自所喜爱的亚洲电影。从充满创意的同人小说、纯粹虚构的想象采访,到温暖人心的漫画和轶事趣闻,《NANG》Issue 3展现了无限创意。“半数以上的作家选择的电影不是他们自己国家的电影,”Muhammad写道,“⋯⋯表明了电影很容易传播罢了。而那些来自行业巨头的电影,传播就更轻松了。我成长在马拉西亚还未进入社交媒体的时代,我当然知道Amitabh Bachchan和Jackie Chan,但如果要了解直接来自泰国和菲律宾等邻国的电影,就得费些周折了。”

In addition to the write-ups and comics in the latest issue, NANG invited five illustrators to reimagine the movie posters for the 17 featured films. Thai artist Unchalee Anantawat presented surreal reinterpretations of Beautiful Boxer (2003), Fist of Dragon (2011), and You Are the Apple of My Eye (2011), while for Dust in the Wind (1986) and A City of Sadness (1989), she merged the two movies together into a singular, digital collage; Indonesian artist Ardneks reworked the posters for Welcome Back, Mr. Mcdonald (1997), Baran (2001), and A Chinese Ghost Story (1987) in his signature vectorized style; Germany-based artist Melanie Fassbender tackled Pink (2016), 2 COOL 2 BE 4GOTTEN (2016), and 3-Iron (2004); Filipino artist Likhain worked on Lilet Never Happened (2012), Vengeance! (1970), and Ghost in the Shell (1995); while artist Alessandro Gottardo offered his take on the three Wong Kai-war movies in the issue – 2046 (2004), Days of Being Wild (1990), and In the Mood for Love (2000).

此外,《NANG》杂志还邀请了五位才华横溢的插画家,重新为杂志中介绍的17部影片设计海报。泰国艺术家Unchalee Anantawat以截然不同的美学风格,重新诠释了《美丽拳王》(2003)、《龙拳》(2011)和《那些年,我们一起追的女孩》(2011), 而《恋恋风尘》(1986)和《悲情城市》(1989) 则被她融合成一幅生动的拼贴画。

印度尼西亚艺术家Ardneks以他的标志性矢量图风格,重新设计了《爆肚风云》(1997)、《天堂挚爱》(2001)和《倩女幽魂》(1987);德国艺术家 Melanie Fassbender 则选择设计了《红粉惊魂》(2016)、《2 COOL 2 BE 4GOTTEN》(2016)和《空房间》(2004)三部电影的海报。

菲律宾艺术家Likhain制作了《街边少女利勒特》(2012)、《报仇》(1970) 和《攻壳机动队》(1995)的海报;而艺术家Alessandro Gottardo 则对王家卫的三部电影《2046》(2004)、《阿飞正传》(1990) 和《花样年华》(2000)进行自己的演绎,其中,他还特意为《花样年华》打造了两幅不同的海报设计。

Issue 3 of NANG is now available in the Neocha Shop in limited supply along with NANG – Issue 1 “The Beauty of Screenwriting” and NANG – Issue 2 “Scars & Death.”

第一期《NANG》“编剧”、第二期《NANG》 “伤痕与死亡” 和《NANG》Issue 3 限量发行,现已于Neocha商店发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


“编造”《NANG》Issue 3




  • Year of Publication: 2017
  • Edition Size: 1500
  • Number of Pages: 122 (including front and back cover)
  • Size: 17 x 24 cm
  • Binding: Swiss binding
  • Printing: Offset (Hybrid Print Technology)
  • Paper: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • Price: $25


  • 出版年份: 2017年
  • 发行量:1500
  • 页数:122 页 (包括封面和封底)
  • 尺寸:17 x 24 厘米
  • 装订:Swiss binding
  • 印刷:平版印刷(混合打印技术)
  • 纸张: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • 价格: ¥180



Contributor: David Yen



供稿人: David Yen

King of Peking



King of Peking (2017) is a new comedic drama set in 1990s Beijing that follows a down-and-out movie projectionist and his son as they try to make it big by starting their own pirated movie company. Written and directed by Australian filmmaker Sam Voutas, the film was inspired by his experience of growing up in Beijing in the 1980s and 1990s and the bootleg film industry that blossomed around that period. Funded in part by crowdfunding campaigns, King of Peking is a heartwarming exploration of father-and-son relationships, morality, and what it means to be an example to others. Neocha had the opportunity for an exclusive interview with Voutas to learn more about the film, his thoughts on the filmmaking process, and his memories of China.

《京城之王》(King of Peking)(2017)是一部以20世纪90年代北京为背景的喜剧片。影片讲述了一名穷困潦倒电影放映员和他的儿子想通过开盗版片加工厂来致富的故事。这部电影由澳大利亚导演司马优(Sam Voutas)担任编剧和导演,灵感来源于司马优20世纪80年代和90年代在北京成长的经历,以及在这段时期内蓬勃发展的盗版电影业。这部电影依靠众筹获得了部分的拍摄资金,是一部探讨父子关系、道德及作为他人榜样的意义的暖心之作。Neocha独家专访了司马优(Sam Voutas),了解更多关于这部电影、他在电影片拍摄过程的一些想法,以及他对中国的回忆。

Neocha: You have a history of working with the same actors and crew on some of your previous films. How did your team first come together?

Voutas: Yes, there’s quite a few of us who’ve worked together before, such as producers Jane Zheng and Melanie Ansley, as well as our sound engineer Jules Ambroisine. The first time we all worked together as a team was on Red Light Revolution, a sex shop comedy we filmed in Beijing at the end of 2009. Even though several years had passed, we approached the crew from Red Light Revolution first for King of Peking. Obviously, due to people’s schedules we couldn’t get all the same people, but Melanie, Jane, and Jules were all on board super early. And also very important for me was getting Zhao Jun, who also starred in Red Light Revolution, back for the lead role. In terms of how we met him, Melanie found him in Beijing’s Penghao Theatre years ago when we were doing auditions. He was in their café, patting a dog, and Melanie just walked up to him and asked if he was an actor. He said no. But luckily the friends who were with him told him to come clean! He went upstairs, auditioned, and nailed it. He’s such a natural, fun actor.

Neocha: 你拍摄的电影常常是和同一班演员和团队合作的。你们这个团队最开始是怎么走在一起的?

Voutas: 是的,我们中有不少人曾经一起工作过,比如制片人Jane Zheng和Melanie Ansley,还有我们的音响工程师Jules Ambroisine。我们团队第一次一起工作,是在2009年底拍摄《红灯梦》(Red Light Revolution)的时候,我们在北京拍摄的一部有关成人用品商店的喜剧片。过了几年,当我们要拍《京城之王》时还是先找了拍《红灯梦》的团队。Melanie、Jane和Jules很早就确认要参与拍摄,但其余的大家各自有自己的工作安排,我们也不能找到全部的原班人马。另外非常重要的是本次饰演电影主角的演员赵骏回归荧幕,他也曾出演过《红灯梦》。我们结缘就是在几年前北京的蓬蒿剧场,我们正在试镜时,Melanie看到了他。他当时正在咖啡馆里,逗着狗玩,Melanie就走到他面前,问他是不是演员。他否认了。还好他旁边的朋友叫他老实坦白!他后来就上楼试镜去了,拿下了那个角色。他是个很真实、很有趣的演员。

Neocha: You started out as a documentary filmmaker before you got into narrative films. What was it like to make that transition?

Voutas: Documentaries are wonderful but I always found them very difficult regarding developing story. You’d have to wait and wait for something interesting to happen to the characters, often waiting weeks, or months even. And sometimes when that wonderful moment arrived, that scene or story turn you’d been waiting for, you weren’t there! Your phone would ring and the character would tell you what just happened to them! The frustration! With fiction, while it still takes a long time, at least from the script stage you can devise a path that the characters will take. You can plot the course more. So I’ve found that fiction film is, for me anyway, a better way to go. At least when something interesting happens to a character, I can be there to film it.

Neocha: 在你拍摄叙事电影之前,你一开始是一名纪录片制片人。对于这种转变,你自己有什么想法?

Voutas: 拍摄纪录片是很棒的,但是我发现,在故事发展方面,它们很难把握。你必须一直等待,等待一些有趣的事情发生在拍摄对象身上,这往往要等上几个星期,甚至几个月。有时,当那个精彩的时刻,那个你一直在等待的一幕或故事的转折点发生时,你却偏偏不在现场!直到你的手机响了,拍摄对象告诉你刚刚发生了什么事,你才知道!真是很有挫败感!而电影虽然也需要很长的时间来制作,但至少在剧本阶段,你可以设计角色的经历。你可以对故事的发展有更多的把握。所以我觉得电影对我来说更为合适。至少当角色发生有趣的事情时,我可以确保自己拍摄下来。

Neocha: What was it like to grow up as a foreigner in China during the 1980s? Looking back, how has that experience played a role in defining your filmmaking career?

Voutas: When I first lived in Beijing in the 80s, there were hardly any cars on the road. The bike lanes were packed with bicycles, but the main roads themselves were mostly empty but for the old buses. If someone in a car drove by, you knew they were a big deal. And if you wanted a burger, there was one hotel in town that could make one. As foreigners, we weren’t able to use the main currency of renminbi. We had to use something called FEC, and that had a different exchange rate even! So very different times. I reckon my perspective has changed primarily because I’m thirty years older. Back then I wanted to just play in the dirt, and now I guess the major change is that I’m playing in the same way, but on film sets. The make-believe element is still there. I’m just playing with different toys and with new friends.

Neocha: 在20世纪80年代,作为一名在中国长大的外国人是什么样的?这段经历对你的电影制作生涯有何影响?

Voutas: 80年代,我第一次到北京生活时,路上几乎没有汽车。自行车道上挤满了自行车,但大路上大多是空的,只有残旧的公共汽车。如果有人开小车经过,你就知道这肯定是个大人物。如果你想吃汉堡,北京市内只有一家酒店可以吃到。同样,作为外国人,我们是不能使用人民币的。我们不得不使用FEC(外汇券)来付钱,它甚至还有不同的汇率!那个时代跟现在真是截然不同。我觉得我的一些观点已经改变,可能主要是因为我已经三十岁了!当时的我只想玩泥沙,现在我想主要的改变是我还是在玩,但却是在拍摄电影时玩。那种“过家家”的元素仍然存在。我只是找到了新的朋友一起玩不同的玩具。

Neocha: Can you tell us about some of the challenges you faced in creating a period piece set in 1990s Beijing?

Voutas: Our film is set in the late 1990s, and what I hadn’t predicted was that so little of 1990s Beijing is left in the city today. We scouted Beijing for a few weeks before we realized the locations simply weren’t there anymore. The old neighborhoods had turned into high rises, so we ended up filming the majority of the movie in Hebei Province. The old cinemas, buildings, amusement parks, we found them out there. It was a very stressful time because without the locations we didn’t have a movie.

Neocha: 你能跟我们分享一下,在拍摄这部以20世纪90年代的北京为背景的电影时你所面临的一些挑战吗?

Voutas: 我们的电影的背景设在了90年代末,而我没有料到的是,90年代的痕迹在今天的北京已经很难找到了。我们在北京找了几个星期,才发现已经找不到那样的拍摄场地了。老街区都变成了高楼。所以,我们大部分场景最后都要去河北拍摄。旧电影院、建筑物、游乐园都在那里找得到。那段时间压力真是非常大,因为如果没有外景拍摄场地,就拍不成这部电影了。

Neocha: What advice would you give to aspiring filmmakers, in China or otherwise?

Voutas: Be persistent. It’s a long game. It’s okay to make mistakes, to fail even; that’s just called learning. Often it’s two steps forward, one step back, and sometimes you just fall on your face. It’s just the way it is. Just try and tell stories any way you can. Even if you’re shooting on your phone, that’s fine. The important part is to keep on trying, to not take no for an answer.

Neocha: 对中国或其它国家那些有志于拍摄电影的人,你有什么建议?

Voutas: 坚持不懈。这是一场漫长的比赛。犯错误是可以的,甚至失败也行,这就是所谓的学习。你往往前进两步,又要后退一步,有时甚至会跌倒。这就是现实。尽你所能讲故事。就算你只是拿着手机拍摄也没关系,重要的是要继续努力,别放弃。

King of Peking will have an upcoming screening in Beijing, along with a Q&A session with the director. See below or click here for details.


Event: King of Peking: Film Screening and Director Q&A

Time: Wednesday, December 13th, 2017, 7 ~ 9:30 pm

Cost: 50 RMB

The Hutong
1 Jiudaowan Zhongxiang
Beixinqiao, Dongcheng District
Beijing, People’s Republic of China




时间: 星期三,2017年12月13日,下午7点至9点30

费用: 50元

The Hutong

Facebook: ~/kingofpeking


Contributor: George Zhi Zhao

脸书: ~/kingofpeking


供稿人: George Zhi Zhao

No Word From Above

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.

李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。

No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.

《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui


Buy Now

Li Hui《No Word From Above》



Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD


  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Instagram: @huiuh_


Contributor: George Zhi Zhao

网站: www.huiuh.com
Instagram: @huiuh_


供稿人: George Zhi Zhao

Strawberries Will Save the World



Japanese director Yoko Okumura’s Strawberries Will Save the World is a short and whimsical documentary that takes viewers into the life of Yuko Okumura, an avid strawberry enthusiast and the director’s own mother. Yoko’s main instruction to her production team was to make the film “Make it cute. Make it really really cute! ” Strawberry mugs, strawberry socks, strawberry glasses, strawberry spatula, and even a strawberry-related chatroom – Yuko’s life and home is filled to the brim with anything and everything strawberry related. In Japanese, the word for strawberry is ichigo, which can be dissected into ichi (meaning one) and go (meaning five). As a result, the number 15 is considered to be related to the fruit. And whether it’s checking the time or driving around, Yuko feels like the number 15 shows up everywhere she goes even though she’s not looking for it. This became affirmation that, all along, it wasn’t her searching for strawberries – strawberries are naturally drawn to her.

居住在美国的日本影片制作人 Yoko Okumura拍摄了一部记录短片,讲述了一个草莓疯狂痴恋者的故事,而影片的主人公 ——Yuko Okumura,正是她的妈妈。短片以一种轻松可爱的手法讲述了Yuko女士对草莓的痴狂。拍摄的时候,导演Yoko Okumura给团队的要求就是:“拍得可爱一些,拍的非常非常可爱。” 草莓杯、草莓袜、草莓眼镜和草莓锅铲甚至是草莓聊天室,Yuko女士家中塞满了和草莓相关的一切,或者说,她的生命也是和草莓紧紧关联在一起的。在日语中,草莓的发音与数字“15”的发音一致, Yuko女士说每当她拿起手机或开车的时候,总能自然地看到”15“这个数字,仿佛不是她在找草莓,而是草莓进入了她的生活。

The internet has allowed Yuko to connect with other like-minded strawberry lovers and share her impressive collection with them. She’s now a member of a Japanese association of strawberry enthusiasts and is even brainstorming on how to shoot an entire movie about strawberries. As this simple fruit has brought so much joy to her own life, Yuko feels compelled to spread this same happiness to more people around the world. Watch the documentary above to see how Yuko plans to channel more positivity into the world with the power of strawberries.


Website: yokofilm.com
Vimeo: ~/yokookumura


Contributor: Ye Zi



供稿人: Ye Zi

Shanghai Queer Film Festival 2017

Sodom's Cat by Huang Ting-Chun

The Shanghai Queer Film Festival (SHQFF) is a newly launched annual festival that looks to use cinema as a device for telling the LGBTQ+ story in an approachable way and encourage discussion around the topic of sexuality. As a completely volunteer-run and non-profit event, SHQFF aims to create a platform where filmmakers, especially those of an Asian background, and audiences can meet, converse, and share with one another it means to be LGBTQIA in modern times.

上海酷儿影展(Shanghai Queer Film Festival,简称SHQFF)是一个新成立的年度电影节,旨在通过电影,讲述 LGBTQ+群体的故事,鼓励人们就性取向问题进行讨论。作为一个完全由志愿者组织的非盈利性活动,SHQFF 的目标是打造一个平台,让电影制作人——尤其是亚洲的电影制作人——可以与观众进行交流,向人们展示当代LGTQIA的生活。

Tales of the Lost Boys by Joselito Altarejos
Chromosome Sweetheart by Honami YANO
Contestant#4 by Kaj Palanca, Jared Joven
Us by Caroline Mariko Stucky

The inaugural event will kick off on September 16th and end on September 24th, beginning with a double feature showing of Orientations: Lesbians and Gay Asians and Re:Orientations, two films by director Richard Fung. The first film, released in 1986, examines the lives of lesbians and gay Asians in Toronto during the 1980s. The latter film, released in 2016, is a look at seven of the fourteen lesbians and gay men interviewed in the first film, showing how their lives and the world around them has changed over the last thirty years.

影展将于9月16日开幕,持续至9月24日结束,最先上映的是由加拿大导演Richard Fung执导的两部电影:《Orientations: Lesbians and Gay Asians》和《Re:Orientations》。第一部电影于1986年首映,探讨了女同性恋者和多伦多亚裔同性恋者在1980年代的生活。而第二部的影片于2016年上映,把镜头对准了第一部电影中采访过的14位女同性恋以及男同性恋者中的7位,展示他们的生活和四周的世界在过去三十年间发生的变化。

Other notable screenings during the week of festivities will include more films such as Tales of the Lost Boys, Starting Over, The Ornithologist, and more. Beyond these, the festival will also be screening 15 films from finalists of the SHQFF Short Film competition. Yu, a member of the film selection committee, explains that using film to tell stories of LGBTQ+ culture will help “reveal an abundance of queer Asian characters, encourage discussion on queer culture in the East, and represent diversity the diversity of love and freedom.”

在这个为期一周的影展中,其它值得关注的电影还包括许多近来新拍的电影,譬如《他和他的心旅程》(Tales of the Lost Boys)、《从头来过》(Starting Over)、《鸟类学家》The Orinithologist)等等。除此之外,影展还会展映SHQFF短片竞赛单元的15部入围电影。电影推选委员会成员之一Yu解释说,通过电影讲述LGBTQ+文化可以“揭示丰富多样的亚洲酷儿面貌,鼓励亚洲人们对酷儿文化的讨论,展示爱和自由的多元性。”

Herstory by Han Zhang, Cong Chen
Sodom's Cat by Huang Ting-Chun

“We are proud to offer this new platform for queer cinema, and to showcase some of the best queer films from around the world,” says Ting, the founder of SHQFF. “We hope this new platform can help Chinese and Asian filmmakers to showcase their work, as well as create a network for them to connect and bring them closer to audiences.”


Website: shqff.com
Facebook: ~/shqff
WeChat: SHQueerFilmFestival


Contributor: David Yen
Images Courtesy of SHQFF

网站: shqff.com
脸书: ~/shqff
微信: SHQueerFilmFestival


供稿人: David Yen