This semi-fictional film is in a still-image format. The photographs are from my personal photo collection, including the records of Xinjiang Construction Corps’ production practices in May Day pasture from 1954 to 1964, as well as news photography and stage stills from 1950s to 1980s. In the film, the three generations of sheep are analogies of the migratory life of Christians, and the different dreams with numerous contradictions between generations are the clues of it. I put myself from both the outside and inside angles when narrating the story, provoking the contextual crack between Christians and the world around them.
|Works | Links | Jobs||ShanghART Singapore|