Tag Archives: filmmaking

Sigh, Gone “你”能放过我吗?

February 1, 2019 2019年2月1日



Sigh Gone is a new film by writer-director Jeannie Nguyen and cinematographer Andrew Yuyi Truong, the filmmakers behind First Generation. The duo’s latest storytelling effort takes them to their parents’ home country of Vietnam, where with help from local producers at BLAZE they’ve crafted a love story with a contemporary twist.

《Sigh Gone》是由导演 Jeannie Nguyen 和摄像师 Andrew Yuyi Truong 拍摄的一部新电影,他们也是《First Generation》的导演。这对拍档的新电影讲述了一个他们父母的祖国越南的故事,在那里,在 BLAZE 当地制作人的帮助下,他们创作了一个具有当代特色的爱情故事。

The short film centers on Thuy, a girl who’s desperately trying to get over a recent heartbreak. Alone at home and unable to quiet her restless mind, she decides to go for a ride on her scooter. But as she cruises through the bustling streets of Saigon, she discovers there’s no use hiding from her emotions. Her grief is even echoed by lyrics inscribed on the back of her motorcycle helmet. The quote, penned by Vietnamese musician Trinh Cong Son, translates to, “Not all that is lost is forgotten.”

这部短片以一个正在拼命试图从最近的心碎经历中走出来的女孩 Thuy 为中心,影片描述了她一个人在家,无法平静她的心绪不宁,于是决定骑上她的机车去兜风。但当她在西贡熙熙攘的街道上穿行时,她发现隐瞒自己的感情是没有用的。她的悲伤和印在摩托车头盔背面的歌词所呼应,那是越南音乐家 Trinh Cong Son 的原话:失而不忘。Not all that is lost is forgotten.

As her day drags on, the bereaved protagonist’s heartache goes from bad to worse—she can’t even make even simple decisions, like where to go and what to eat. To make matters worse, she realizes she’s completely forgotten about a friend’s birthday, and when she rushes over with a cake to make amends, the neighbors tell Thuy no one’s home, and chastise her for being a terrible friend.

随着时间的流逝,失去所爱的 Thuy 的心痛愈发加剧,她甚至不能做出简单的决定,比如去哪里、吃什么。更糟糕的是,她完全忘了朋友的生日。当她匆忙拿着一块蛋糕去赔罪时,邻居们跟她说根本没人在家,且指责她是个糟糕的朋友。

Thuy heads home feeling even more defeated than before. But as she pulls up to her apartment, she finds a welcomed surprise: her lost love is there waiting for her—an iPhone that she left at a friend’s place.

回家后的 Thuy 感觉比之前更沮丧了。但当她把车在公寓停好后,她发现了一个惊喜:她丢失的“挚爱”在那里等着她——她的 iPhone,曾留在了一个朋友家的 iPhone。

Sigh Gone turns out not to be a story of lost love after all, but a commentary on our obsession with smartphones. While it’s a lighthearted take on the subject, there is something bleakly familiar about this portrayal of our modern consumption habits. For many viewers, the anxiety and frustration of not having our smartphones within arm’s reach may hit a little too close to home.

Sigh Gone》原来说的并非一个关于失去爱人的故事,而是对我们对智能手机的痴迷现象。虽然这个话题令人轻松愉快得多,但在对我们现代消费习惯的描述中,的确存在着一些令人沮丧的事实。对许多观众来说,手机只要一离开就在我们几步之遥,我们就会感到焦虑和沮丧。

Alongside technology codependency, the film also touches on the double-edged nature of social media. “To be honest, it’s a little scary that today’s young people have never experienced life outside social media,” Nguyen says. “While these platforms can be great tools to make connections with and be exposed to art and culture from around the world, they’re more frequently highlight reels for people’s lives. It’s inauthentic, but young people don’t process that. It can be detrimental to their psyche.”

At one point in the film, Thuy asks herself, “What’s the point of creating memories if they’re not shared?” This question takes on a different meaning when it becomes clear that she’s referring to Facebook. What seems like a wistful question becomes a damning critique of our need to be constantly plugged into these digital feeds. With the ubiquity of smartphones and our ever-increasing screen time, Sigh Gone poses a tough question: are we living our own lives anymore, or are we too busy living vicariously through our devices?

除了科技与人的共生关系,这部电影还涉及了社交媒体的双刃性质。“老实说,现在的年轻人在社交媒体之外从来没有体验过生活,这有点吓人。” Nguyen 说,“尽管这些平台可以成为连接世界各地的艺术文化,并成为与之接触的绝佳工具,但它们通常只是起了强调人们生活的作用。这不是真实的,但是年轻人不会接受。这对他们的精神是有害的。”

在电影中,Thuy 问自己,如果不能分享,那么创造记忆有什么意义呢?当明确了她所指的是 Facebook 时,这个问题就有了不同的含义。似乎从一个伤感的问题变成了对现代人们捆绑于数媒信息之上的一种严厉批评。随着智能手机的普及、人们屏幕时间的日益增加,《Sigh Gone》提出了一个严峻的问题:我们是在过自己的生活,还是我们忙于通过设备,以间接的方式生活?


Instagrams@jea.nguyen | @a.y.truong


Contributor: David Yen
Chinese Translation: Chen Yuan


Instagrams@jea.nguyen | @a.y.truong


供稿人: David Yen
英译中: Chen Yuan


December 19, 2017 2017年12月19日

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

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King of Peking

December 6, 2017 2017年12月6日



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

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The Light Collector

August 22, 2016 2016年8月22日



Shot by Mumbai-based filmmaker Dheerankur Upasak, The Light Collector tells the story of Dilish Parekh, a camera collector from India. In 2003, Parekh officially entered the Guinness Book of Worlds Records for having the largest collection of cameras in the world with an astounding 2,634 cameras. Nowadays, his camera collection has grown to approximately 4,500 cameras, and includes many rare and expensive models like the Leica 250 that’s valued at over $80,000 (USD).

Parekh’s story began in 1970, when his grandfather gifted him with cameras. At the time, many of those gifts were cheap models that cost less than $15 (USD) each. This resulted in Parekh’s lifelong obsession with cameras, and as he grew older, his collection of cameras grew with him. Whenever Parekh traveled through India, he would visit the local markets and add new cameras to his collection. His impressive collection has interested camera aficionados from all over the world, but Parekh has turned down all of their offers, saying, “These cameras are my life, I’m not going to sell them as long as I am alive.”

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Instagram: @dheerankur


Contributor: David Yen