Documentary：《Co-existence》

Video link：

Introduction：
《Co-existence》 documents the story of the Xi Shang Art Museum, a private art museum located in Changde, Hunan Province, China, and its founder. Centered on the theme of "the living inheritance of intangible cultural heritage in contemporary society," the work adopts a narrative structure comprising "prologue, characters, cultural relics, and technology," integrating methods of on-site filming, interviews, and first-person narration to bridge historical context with the present.

This approach enables the visualization and emotional articulation of intangible cultural heritage. It conveys a humanistic aesthetic experience—journeying toward flowing streams, encountering mountains, water, and all things; wandering through, engaging with, and lingering in the world—ultimately returning to a state of harmonious coexistence with nature and all beings. By doing so, it contributes to revitalizing intangible cultural heritage in the contemporary era, underscoring its distinctive cultural significance and enduring relevance.

For more details, please click the icon to jump

Microfilm：《 wall 》

An invisible wall emerged within Jing Jiu's room, progressively encroaching upon her living space and ultimately compelling her to leave the apartment. Confronted with this barrier, she was inevitably led to reflect on its symbolic significance and consider possible responses. The short film "The Wall" centers on this metaphorical element, employing Jing Jiu's experience to represent the disjunction between individuals and the prevailing social structure in contemporary society. The work examines the challenges faced by marginalized groups, utilizes phenomenological methods to portray their lived realities, and constructs an allegorical sociological narrative.

Microfilm：《The Eve of Passover》

The narrative backdrop of the film is rooted in Leonardo da Vinci's "The Last Supper," a masterpiece inspired by a pivotal moment in Chapter 26 of the Gospel of Matthew from the Bible. During the Passover meal, Jesus declares, "One of you will betray me," prompting the twelve disciples to react with immediate expressions of shock and bewilderment. This portrayal marked a significant departure from the conventional tradition of static and reverent religious art, effectively humanizing divine figures by embedding them within an emotionally resonant context accessible to the general public. As such, it stands as a quintessential example of Renaissance humanism. The film reimagines this moment—the eve of Passover—as a suspenseful narrative centered on the question of "who the betrayer is," thereby inviting contemplation on the moral complexities of human nature. This approach not only enriches the thematic depth of the story but also contributes a thought-provoking dimension to the structural design of subsequent suspense-driven literature and cinematic works.

Shu Lan