第12届FIRST影展“剧情长片”单元提名影片《步行指南》

chen xi (陈熹)

步行指南剧照3

步行指南剧照2

步行指南剧照1

步行指南

Sleepwalking Through the WalkSimulators

世界首映

World Premiere

*最佳艺术探索奖提名

中国 | 2018 | 彩色 | 79分钟 | 剧情

China | 2018 | Color | 79min | Fiction

导演/编剧/剪辑/美术/音效/音乐 | 陈熹

导演简介

陈熹，1985 年出生于武汉，2008 年毕业于江南大学美术系本科，2012年毕业于华东师范大学美术系硕士。生活及工作于北京。

Director's Biography

Chen Xi was born in Wuhan (1985), graduated from Jiangnan University (BA) in 2008, then graduated from ECNU (MA) in 2012. He currently works and lives in Beijing.

导演阐述

画风上看，这仿佛是“谁”玩给观众看的游戏，一个容易进入但沉重的游戏。角色遇见的第一个道具仅仅是一个“光照明”，到后来“整个世界”都是道具。画风一开始几乎是平面色块，到片尾变成了照片写实。本片通过这些可视的安排想让观众意识到这是一个内容逐渐增加的故事，直到接近结尾都安排有新的惊人的信息可供发觉。本片中一部分角色产生事件，一部分角色在其他角色的事件上行走，极少的角色几乎和观众一起抵达事件之上的构造物。本片的叙事结构也就是角色走过的空间结构，这些观众都能直接看到。

《步行指南》是我独立完成的首部剧情长片。

Director’s Statement

In terms of style, this film seems like the ‘who’ playing a game for the audience, an easily accessible but heavy game. The first item a character met was just ‘light’ and later ‘the entire world’ was a prop. At the beginning of the film, it was almost flat color, and it turned into a photorealism near the end of the film. Through these visual arrangements, the film wants its viewers to realize that this is a story with increasing content, and even near the end, an audience can find new and surprising information. Some of the characters in the film produce events, some of the characters walk on the events of other characters. A few characters almost climb the above-event-structure together with the audience. The narrative structure of the film is the spatial structure walked by the characters and the audiences can see it directly.

Sleepwalking Through The WalkSimulators is my first narrative feature. It was written, directed, produced and made all by myself.

影片简介

《步行指南》描绘了一个连续的空间，本片里描绘的空间结构也是本片的叙事结构，在这里观众可以同时且“直接”看到微观事件和事件上的构造物。这里的角色们没有话语，也没有表情，只有行动。当遇见对方，它们有时打斗，有时一起度过一段时间。在这里受的损伤不会完全复原，事件会在角色们的生命周期外聚拢。角色之间的信息不对称，角色也不太思考它们最习以为常的事物，比如它们的身体，它们的治疗道具如何运作等。它们中的一部分前仆后继地追寻着“点状物”，只有微弱的几率能进入点状物，当一个角色终于站到事件之上的构造物的面前时，它就像我们一样作出常人的选择。

Synopsis

The film depicts a continuous space in which the spatial structure is also the narrative structure of the film. Here, the audience can simultaneously and ‘directly’ see the microscopic events and its higher structures. The characters have no words, no expressions, only actions. When they meet each other, they sometimes fight and sometimes spend time together. The damages on characters’ bodies will not be fully recovered, and the events will congeal and merge outside the life cycle of each individual. Those characters with asymmetry of information carry on their lives without thinking about what they are most accustomed to, such as their body, their medical props. Some of them trying to find their ‘point’ with only a slight chance to get in. When a character finally passes a point, standing in front of an above-event-structure, the character would make mortal choices like normal people.

“悬置经验与常识，跟随异世界中的步行者们走过一段段奇妙的旅程。艺术家陈熹匠心独运，填补了国内动画艺术探索方向中的一大空白，也给当代艺术与电影两大领域之间制造了一个很好的对话契机。观众应该在这部片子里看到什么？其实都可以。”

“The film puts aside experience and common sense,leading us to follow the walkers in a different world to participate in their wonderful journey. Cheng Xifills the gap lied in the direction of exploration domestic animation art. Besides, he offers a chance to bridge modern art and cinema.What should audienceget from this film?Anything is okay.”