关山难越
Ten Thousand Paths
2018
12 mins
单频道视频投影 One-channel video installation
纪录片 Documentary
数字视频、立体声 HD video, sound
对白 Language 贵州方言 Guizhou dialect
字幕 Subtitle 汉语/英语/法语 Chinese mandarin/English/French
影像语言与感官经验、与记忆之间存在着一种特殊的关联，它使不同时间层次的经验得以并置：个体记忆、家庭历史以及更广阔的社会变迁彼此映照。作为《千年万骨》的姐妹篇，这部散文短片源于我初到法国时对家的回望。面对这个全新的世界所展开的众多可能，我开始重新审视自己来到这里的轨迹。
哥哥出生于20世纪80年代初，当时计划生育政策仍处于严格执行阶段。到了90年代末，政策有所松动，作为国企车间职工的父母决定将我“留下”。我出生在长沙，却在生命最初的几年里被“藏”在外婆家。
后来我与家人真正共同生活的时间并不长。十四岁时，我独自前往北京读高中。当时的通讯方式尚在发展，我与家庭的日常联系一年到头不过是几句简短的话语。随着时间推移，对家庭的理解也逐渐延伸为对集体历史的思考。我与家的距离改变了我与世界的关系。跨越中法两地的迁徙经验，使我不断面对两个异步却又偶尔重合的社会时间。正是在它们相遇的缝隙之中，我“真正的”存在方式开始初出轮廓。
Audiovisual language holds a particular affinity with sensory experience and memory, allowing experiences from different temporal layers to coexist within the same space: individual recollections, family histories, and broader social transformations overlap and intertwine. As a companion piece to A Thousand Ashes, this essay film emerged from a moment of retrospection during my first years in France. Faced with an entirely new reality, I began to re-examine my family history and the social conditions that had shaped my own trajectory.
My older brother was born in the early 1980s, when China’s one-child policy was still being strictly enforced. By the late 1990s, the policy had loosened somewhat, and my parents—both shop-floor workers in a state-owned factory—decided to take the risk of keeping me. I was born in Changsha, but spent the first years of my life living with my grandmother. I was “hidden” there.
The time I actually spent living with my family was relatively brief. At fourteen, I left home alone to study in Beijing. Since then, my relationship with my family has been built upon fragmentary memories: a few photographs, a few phone calls, a few voices. Over the years, this distance between my family and myself gradually transformed my relationship to the world. Through my own experiences of migration between China and France, I have found myself confronted with social realities belonging to distinct temporalities. These social times, asynchronous yet occasionally overlapping, continually intersect. It is within the gaps opened by their encounter that the possibility of a form-of-being-in-the-world begins to emerge for me — my Dasein.
哥哥出生于20世纪80年代初，当时计划生育政策仍处于严格执行阶段。到了90年代末，政策有所松动，作为国企车间职工的父母决定将我“留下”。我出生在长沙，却在生命最初的几年里被“藏”在外婆家。
后来我与家人真正共同生活的时间并不长。十四岁时，我独自前往北京读高中。当时的通讯方式尚在发展，我与家庭的日常联系一年到头不过是几句简短的话语。随着时间推移，对家庭的理解也逐渐延伸为对集体历史的思考。我与家的距离改变了我与世界的关系。跨越中法两地的迁徙经验，使我不断面对两个异步却又偶尔重合的社会时间。正是在它们相遇的缝隙之中，我“真正的”存在方式开始初出轮廓。
Audiovisual language holds a particular affinity with sensory experience and memory, allowing experiences from different temporal layers to coexist within the same space: individual recollections, family histories, and broader social transformations overlap and intertwine. As a companion piece to A Thousand Ashes, this essay film emerged from a moment of retrospection during my first years in France. Faced with an entirely new reality, I began to re-examine my family history and the social conditions that had shaped my own trajectory.
My older brother was born in the early 1980s, when China’s one-child policy was still being strictly enforced. By the late 1990s, the policy had loosened somewhat, and my parents—both shop-floor workers in a state-owned factory—decided to take the risk of keeping me. I was born in Changsha, but spent the first years of my life living with my grandmother. I was “hidden” there.
The time I actually spent living with my family was relatively brief. At fourteen, I left home alone to study in Beijing. Since then, my relationship with my family has been built upon fragmentary memories: a few photographs, a few phone calls, a few voices. Over the years, this distance between my family and myself gradually transformed my relationship to the world. Through my own experiences of migration between China and France, I have found myself confronted with social realities belonging to distinct temporalities. These social times, asynchronous yet occasionally overlapping, continually intersect. It is within the gaps opened by their encounter that the possibility of a form-of-being-in-the-world begins to emerge for me — my Dasein.