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between a glimpse and a blink 午睡前的遊記 trailer


 

between a glimpse and a blink
午睡前的遊記


Feature Film (182 mins) 劇情長片(182 分鐘), 2022

 

The story begins with a once-again failed attempt in 2016, as if nothing has ever happened, while at the same time certain seeds have already been planted. Nam and Ching live their ordinary life, not aiming at becoming anyone, the day after day ordinary life becomes a journal, a life without a grand meaning doesn’t mean it’s not worth being recorded and remembered. Someone left, while someone stayed and continued drifting. And some days, imperceptibly, could not be reached anymore. 

 

Between a glimpse and a blink is derived from the diaries I have started writing since 2015 Winter, and we filmed it in 2018 March, while I finally finished the editing in 2022. There’s the basic structure of the scenes while the major part of the work consists of improvised dialogue and actions. It’s filmed by one or more DVs and a cinematic camera, while avoiding too much planning and design for camera operations, in order to avoid limitations from camera operations and script in the process, in the hope that the crew and actors can exist/live in the situations more freely. With that, it’s hope that the non-binary possibilities in filming could be explored. Regarding the possibilities of ‘living/being’ in the shooting process, such as the way we define roles, filming and perceptions etc. 

故事以2016年一場又一次失敗的嘗試開始,彷彿什麼都沒有發生過似的,卻有些什麼不知不覺已經種下,南和呈過著日常的生活。沒有要成為什麼人,日復日的生活成為一個遊記,沒有偉大意義的生活不代表不值得被記下,有人離開,有人留下繼續遊走,而有些日子不經不覺的,也回不去了。
 

《午睡前的遊記》始於2015年年末開始寫的日記,並於2018年3月拍攝,2022年才終於完成剪接。只有基本的場景結構,大部分都是即興的對話和動作,並主要由一部或多部手提攝錄機和一部電影攝影機所拍攝,避免很多的鏡頭策劃和設計,盡量在過程減少拍攝和劇本限制,希望拍攝團隊與演員可以更加自由的存在/生活在狀態裡,實驗拍攝中非二元的可能性,有關「生活」在拍攝過程的可能性,例如崗位角色 、拍攝與感觀的定義等。

Notes: 

Between a glimpse and a blink is derived from the diaries I have started writing since 2015 Winter, and we filmed it in 2018 March, while I finally finished the editing in 2022. There’s the basic structure of the scenes while the major part of the work consists of improvised dialogue and actions. It’s filmed by one or more DVs and a cinematic camera, while avoiding too much planning and design for camera operations, in order to avoid limitations from camera operations and script in the process, in the hope that the crew and actors can exist/live in the situations more freely. With that, it’s hope that the non-binary possibilities in filming could be explored. Regarding the possibilities of ‘living/being’ in the shooting process, such as the way we define roles, filming and perceptions etc.

Since there’s no storyboard and concrete script, we spent most of the time repeating and transforming through repetition to feel and explore the possibilities of how each scene could be interpreted and recorded. Together with the free-flowing cameras that could film and observe different people and scenery in the scene simultaneously, and also roles could be fluid, e.g, art directors and actors could do the filming while the director could be the actor…leading to a large amount of videos and audios recorded in the 15 days of shooting. These materials could be related to the process, story, scenery…and I’ve spent a lot of time exploring and training myself how to deal with this enormous amount of materials. Since the materials do not have the typical standard, shaky shots, noise could have the potential to be used, as they recorded the unpredictable being in the space and process that could be out of the ‘story’. And before I finished editing the film, I’ve once tried presenting the filming process, and the ambiguity between reality and story through a video installation. Through these practices, I also hope to understand more how ‘truthfulness’ and ‘sincerity’ could be felt in the film, which is closer to ‘being’ itself than just filming a story. 
 

For more information regarding the video installation and texts of between a glimpse and a blink:https://www.winsomewongd.com/a-journal-before-nap

《午睡前的遊記》始於2015年年末開始寫的日記,並於2018年3月拍攝,2022年才終於完成剪接。只有基本的場景結構,大部分都是即興的對話和動作,並主要由一部或多部手提攝錄機和一部電影攝影機所拍攝,避免很多的鏡頭策劃和設計,盡量在過程減少拍攝和劇本限制,希望拍攝團隊與演員可以更加自由的存在/生活在狀態裡,實驗拍攝中非二元的可能性,有關「生活」在拍攝過程的可能性,例如崗位角色 、拍攝與感觀的定義等。

由於沒有鏡頭分鏡和具體劇本,我們大部分時間都透過重複以及在重複中演變去感受摸索每個場景可以如何演繹以及記錄。加上多部攝影機可以同時拍攝各自流動觀察場景中不同的人物景物,而崗位有時也可以流動,例如美術指導和演員可以拍攝,導演可以成為演員,以致15天的拍攝中留下大量的片段和聲音,關於過程的、關於故事的、關於風景的......所以我用了很多時間去摸索和鍛鍊自己如何處理這麼大量的素材,因為素材沒有以往的標準,不穩定的鏡頭,雜音攝入的聲音也可以有運用的方向,記錄了「故事」以外有關那個空間以及過程實實在在不能預知策劃的存在。而2018年在還沒把電影剪好之前,曾經以錄像裝置的形式呈現拍攝過程,現實以及故事之間的模糊地帶。透過這些練習,我希望可以更加明白電影中的 ”真誠“和”真實感“,那些多於「故事」而更多關於「存在」本身的。

有關《午睡前的遊記》的錄像裝置和文字:https://www.winsomewongd.com/a-journal-before-nap