Many people enter the film industry through a family member or friend. In your case, how did you enter the film industry?

I graduated from the Shanghai Theatre Academy with a degree in acting, which naturally placed me in an environment surrounded by friends working in film and television. Initially, it was through their referrals that I gradually entered the industry. In addition to acting, I also explored various behind-the-scenes roles. Through these experiences, my desire to make my own film grew stronger and eventually became a clear goal I set for myself.

 

Why did you decide to make movies?

Early on, while working as an actor, I noticed something fascinating: the set was always filled with equipment and crew, with performers acting in a constructed environment, yet the monitor showed a purified version of that reality—everything extraneous disappeared, leaving only the story’s world. I gradually became dissatisfied with merely being part of a predetermined frame; I wanted to create that frame myself, to decide what should stay and what should be left out. That creative urge is what led me to filmmaking.

 

Tell us about your project, why did you start it and how did it come about?

After deciding to make a film, I discussed ideas with several screenwriter friends, but we never landed on a story that truly moved me, so the project was put on hold.
The turning point came with heartbreaking news: the passing of my close friend Su Jibin, whom we all called Xiao Su. It was my first time facing death so directly. For a week, I struggled to accept it, even hesitating to attend his funeral—as if not going could allow me to pretend he was just away, not gone forever. The day of the funeral felt surreal; fragments of memory flashed through my mind but never formed a complete picture.
Not long after, it struck me: no fictional story could carry more truth than the one I was living through. Xiao Su loved cinema deeply. If possible, I wanted to capture the emotions of that farewell and the words left unsaid into a film—a final gift to him. Thus, this short film was born: my directorial debut, and a cinematic farewell poem to a dear friend.

 

Had you previously been in another project? How was your experience?

Before becoming a director, I worked on several projects as both an actor and a crew member. My shift from acting to behind-the-scenes work came from a growing fascination with what happens off-camera. My first role was as a script supervisor—a position that let me stay close to the director and monitor, which felt like a dream come true.
Shooting days in China are often long, with 16 to 18 hours being common, leaving little time for sleep. Yet, I found myself energized every day. It wasn’t that I wasn’t tired; it was that passion overrode the exhaustion.
Later, I also worked as a producer, coordinator, and first assistant director. Each role taught me about filmmaking from a different angle, and I made sure to reflect and learn after each project—how to build and manage a team. All these experiences were essential stepping stones toward my goal of becoming a director.

 

The best and the worst of this project is…

The best part was undoubtedly the crew. Almost everyone involved was a friend I’d met through previous work. Despite the limited budget, everyone gave their all to help bring this film to life. Without them, this short would not exist.
The most challenging aspect was securing the location. Xiao Su was from Kaiyuan, Yunnan, and I was determined to shoot in his hometown. The script was built around the local sightseeing train, but it was a government-operated venue, and obtaining permission was extremely difficult. We even considered changing the setting or building a set, but that would have stripped the story of its meaning. We submitted numerous applications and made endless calls. To make matters worse, it was during the Chinese New Year holiday, so many offices were closed. The entire crew waited in Yunnan for three anxious days before finally receiving permission just in time. Looking back, it was a nerve-wracking experience—every day of waiting strained our already tight budget. Thankfully, it all worked out in the end.

 

If you could go back in time, would you change anything about filming or pre-production?

No. Every member of the crew did their absolute best, and I have no regrets.
If anything, I might tell myself not to worry about being “fully ready.” As a performance graduate, I never received formal training in directing; most of what I know comes from hands-on experience and short courses. I had thought about waiting until I felt more prepared.
But stories arrive when they do. What I wanted to capture was the emotion of that very moment. Years from now, I might have more experience and knowledge, but I would no longer be the person I am today. So even if the film has imperfections, they are part of its truth—and I want to preserve that.

 

What do you expect from festivals for your project?

As my first film, I naturally hope it reaches a wider audience. Since I didn’t go through formal directing training, I also see festivals as a valuable way to gauge where I stand. If it receives recognition, I’d be incredibly encouraged. If not, I’ll take it as a lesson and keep learning. I plan to continue on this path because I truly love what I do.

 

Do you have experience in film festivals, how has your experience been?

Not yet, but I hope to gain some soon.

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Many of the projects we receive are self-financed, without any producer behind them, which makes all the processes very difficult. Can you tell us what the pre-production process was? Did you do it, did they help you?

The funding was raised by me and the producer, Ju Renxi. Xiao Su was also his close friend. When I shared my idea, he was fully supportive and helped bring many of our mutual friends on board—some contributed financially, others offered their skills by joining the crew. The majority of the funding came from our executive producer, Wallace, Zhang, another friend of Xiao Su. He understood that short films rarely turn a profit but believed that creating a cinematic farewell was a meaningful and fitting tribute to our friend.

 

And your film preferences? What do you look at in a movie? Acting, direction, production, cinematography, soundtrack etc…

I pay the most attention to the director’s storytelling approach. Whether it’s a tightly plotted narrative or a mood-driven piece, if it resonates with me, I’ll appreciate it.
Next, I focus on cinematography and production design. Coming from an acting background, I know how much visuals can enhance a performance. Great visual language not only supports the story but also expresses the director’s unique style. I’m drawn to directors with a strong visual signature and hope to develop my own one day.

 

Your three favorite movies?

Cinema Paradiso – It gave me the initial courage to pursue directing.

The Grand Budapest Hotel – A visual masterpiece that I consider a textbook for production design.

The Wild Times (recent release) – I’m a big admirer of director Bi Gan. The emotional depth and visual control in his films captivate me. This latest work shows his growing mastery and inspires me to keep improving.

 

And your directors?

From China, I really admire Bi Gan. Internationally, I love Tim Burton. My taste seems split between poetic, dreamlike storytelling and dark, whimsical fairy tales—and both of these directors speak directly to that sensibility.

 

Can you recommend us an independent movie that you wouldn't recommend to everyone?

I’d recommend Myth of Love (Àiqíng Shénhuà) directed by Shao Yihui.

 

And to finish, tell us three movies that you hate but that most people like.

I believe every film has something to offer. But if I had to name one, perhaps A Little Thing Called First Love. Many are moved by its innocent romance, but I personally connect more with love stories that have deeper, more complex emotional layers.