Wu Wenguang
Edited together from materials taken from Caochangdi performances and activities between 2012-2013 and Wu Wenguang's own body camera record, this film can be regarded as a kind of "story follow-up" version of "Because of Hunger". In short, it is a kind of "remembrance".
Luo Luo’s intense fear of Covid-19 keeps her in the house during the pandemic. She listens to her father relate their family history, and spends time on Zoom with fellow Folk Memory Project members Wu Wenguang and Zhang Mengqi.
Tianshige must be eliminated every demon. The half-jug of wine went to drop the demon, but never returned. It is rumored that when the elites of Tianshige hunted down the ancient beasts, the whole army was annihilated. Tianshi Pavilion has since fallen, and the exile of the people has become the only descendant of Tianshi. In ten years, he and Ruo Ling, who had lost the memory of the cat demon, also grew up in joy. The two started to run Yuyaofang, relying on helping people to catch some little monsters and mobs, and reluctantly. If Ling Ling's affection for Tian Fang is getting stronger, Tian Fang knows that the monster is different, and he never cares.There were monster wounds in the city and the palace in succession. Tian Fang and Ruo Ling suspected that the rat demon they had encountered. Prince Huai Chong set a heavy reward for catching monsters. Tian Fang accidentally found clues about Master's disappearance from Huai Chong, so the two joined Huai Chong's team of monsters.
My father was a landowner’s son and an ex-Kuomintang Air Force pilot, who remained in mainland China after 1949. For survival, he tried to transform himself from a man of the ‘old society’ to a man of the ‘new society’. As his son, I started investigating his ‘history before 1949’, which he had kept away from me. This film documents the process of my investigation over twenty years.
The film is about the first two years in the Memory Project. All images was from my angle with my camera.
Jia Zhitan investigates the One Strike-Three Anti campaign in his village.
A documentary following the filmmaker, Li Xinmin, who went back to her hometown and interviewed the elders in her village who lived through the Great Famine during 1959- 1961. The residents of this village Huamulin are still isolated. At the same time, the film reflects the loneliness in the real life of village's old people
A documentary following the filmmaker, Shu Qiao, who went back to his hometown of Shuangjing, a rural village in Hunan Province. He interviewed the elders in his village who lived through the Great Famine during 1959-1961. His main purpose was to gather the names of those who suffered and died during the famine and to ask the village to donate money for erecting a monument in their name
Zou Xueping continues to interview old people in her village, this time with the help of local children. They start collecting names and money to erect a memorial for the victims of the famine.
During Luo Bing's second return to his village, Ren Dingqi finally accepts to showhim his memoirs.
A documentary following the filmmaker, Wang Hai'an, who went back to his hometown of Zhanggao Cun, a rural village in Shandong Province. He interviewed the elders in his village who lived through the Great Famine during 1959- 1961. His main purpose was to gather the names of those who suffered and died during the famine and to ask the village to donate money for erecting a monument in their name, but the idea was rejected by the villagers
It is the director's second documentary of "my village" series since she got involved with the "Folk Memory Project". She returned to her hometown to shoot footage, recording the realities she encountered in her search for memories. Her biggest question is: after experiencing the disaster of the tragic famine fifty years ago, the villagers now are not short of food, and are living a better life than before, but is the spirit of this village still starving?
Li Xinmin's first return to her village in Yunnan province. Alongside interviews with some village elders, the film reveals the filmmaker's family and their views on her film project.
Luo Bing went back to Luo village, where he was born and grew up, and interviewed older people to know what happened during famine from 1959-1961. His neighbor, Ren Dingqi wrote a memoir, but he didn't really show it to Luo Bing. Luo Bing knew the history of this village much more after getting close to Ren Dingqi every time
A documentary film following the daily life of director's grandfather in the winter of 2011. At 80 years old with five sons, the grandfather insists to live by himself in the rural area of Hebei
Wu Wenguang's comment: This film looks at my relationship with the village filmmakers— or I might say, how we met and got entangled. The film’s material comes from video recordings of the Villager Documentary Project from 2005-2009. It is about how these complete strangers and I became tied, bound, and rolled up together. And it’s about the phrase I keep wanting to shout to them,“Stand your ground! None of you run from this!”
This documentary shows how different young people try to realize their dreams to become famous through the film industry.
The film is about the life of farmer workers in Beijing, including search the “outlander” how to been in Beijing.
A documentary of the Yuanda Song and Dance Tent Show, a wandering troupe from the countryside of Henan Province that is on the road all four seasons of the year.
A year after he made Bumming in Beijing, Wu Wenguang visited his main figures in Austria, France, Italy and the USA. The desire to escape everything, which was the most compelling feeling while they were still living in Beijing, has meanwhile faded and they are now confronted with the dynamics of emigration. Wu asks what it means to feels deserted by one's own country and how it is when one reacts by deserting it in turn.
More preoccupied with "history" than Wu's other works, My Time in the Red Guards is a record of his fascination with the missed moment, Mao's Cultural Revolution. In 1966, the Red Guards ironically represented the official avant-garde, a movement carried forward by youth determined to become heroes of the Revolution. Wu interviews people who had joined the Red Guards as high schoolers, most now successful professionals, some Party members. The miscalculations and cruelties of this extreme cultural campaign are spread out before us, detailed by personal recollection and further illustrated by old agit-prop newsreels. Misgivings and fond remembrance vie for position as the interviewees seem to confuse the nostalgia of youthful action with the excesses of historical fact.
Independent Chinese documentary by Wu Wenguan following and interviewing a group of young artists around the time of the events Tiananmen about their lives and careers.
