The filming process for our short film was both challenging and rewarding. Our production was relatively small-scale, but it required careful planning, coordination, and adaptability—especially since we were working with limited equipment and time constraints. The story, which takes place mostly in and around a taxi, demanded creative problem-solving in terms of location, lighting, and shot composition.

We began with several pre-production meetings to storyboard the scenes and finalize the script. Wentao, the director, was responsible for shot planning and character direction, while I contributed ideas related to how sound would interact with visual elements. We discussed pacing, transitions, and the emotional tone of key scenes to make sure the cinematography would leave space for sound to play a meaningful role later in post-production.

One of the most logistically difficult parts of the shoot was the taxi scene, which formed the core of the narrative. Filming inside a moving car brought technical limitations, such as camera placement and ambient noise, but also inspired some interesting framing choices. We used both handheld and fixed camera angles to create a sense of tension and unease, aligning with the film’s darkly humorous tone. Since much of the story is set within this confined space, we experimented with close-ups and off-screen dialogue to build psychological pressure.

Although Wentao led the cinematography and direction, our collaboration extended into small but important decisions during the shoot. For example, in transitional scenes where characters shift from dialogue to silent thought, I offered input about how these moments could be enhanced through quiet or ambient sound, helping us decide when to hold a shot longer or leave a space for audio to carry the emotion.

Overall, the filming process required a lot of flexibility. Some scenes were restructured on the spot to adjust for lighting conditions, actor availability, or continuity errors. These improvisations were sometimes frustrating but ultimately improved the natural flow of the narrative. It was a valuable reminder that film is not a fixed plan but a living process that evolves through collaboration and experimentation.

Hotel scene reference

Robbery scene reference

Throughout the film, we paid close attention to light and shadow as storytelling tools. Many interior scenes are shot in low light, often with a single directional source like a desk lamp or passing streetlight. This intentional dimness evokes a sense of urban loneliness and economic instability—paralleling the themes of the film. Shadows cast across the characters’ faces create moments of concealment and ambiguity, reinforcing the idea that they are constantly negotiating between deception and self-deception. In one particularly effective shot, the protagonist’s face is half-lit, suggesting a tension between moral uncertainty and psychological vulnerability.

Framing and composition were also central to the visual language of the film. We often positioned the camera at oblique angles or from slightly distanced perspectives, intentionally avoiding overly polished or symmetrical shots. This gave the film a raw, observational quality that mirrors the unglamorous reality of the characters’ lives. In contrast, dream-like moments—such as the ring-search sequence—featured slower camera movements and a more centralized framing, creating a slightly surreal atmosphere. This shift in visual tone subtly cues the audience into the dream-state without using obvious visual effects.

We also made deliberate use of negative space in our shots. Empty areas in the frame, such as blank walls or out-of-focus backgrounds, serve to emphasise the characters’ emotional isolation. This was especially effective in scenes where dialogue was sparse; the emptiness around the actors echoed the silence in their internal world. The urban setting, while minimally shown, is always felt—through confined interiors, cramped environments, and the suggestion of a city just outside the frame.

Overall, the visual design of the film worked in harmony with the sound to create a coherent emotional and thematic experience. Rather than relying on overt dramatic visuals, we chose to suggest emotion through subtle framing, lighting, and reflective surfaces. These choices helped immerse the viewer in the uncertain, anxious world the characters inhabit—where every action, whether real or imagined, is driven by hope, survival, and illusion.

inspiration : Sound, visual, ideology

Sound

Frank Ocean’s ‘household name’ album Blonde had a major emotional impact on the film. When developing the characters Huang Jia and Si Hai, we imagined them as summer lovers doomed to separate, unaware at that moment of the deep and lasting connection they shared. The album also inspired my approach to the sound design, incorporating the strings and electronic synths we wanted to experiment with in this film.

visual

The recurring themes of love and seduction in Wong Kar-wai’s films inspired our creation. His scene selection, shooting style and art design have a certain reference effect on this film. For example, we chose to use the scene in the hotel corridor as the opening to establish an atmosphere of alienation and ambiguity, and the intimate relationship between Huang Jia and Si Hai as the main theme of the film’s fantasy.

ideology

The initial concept of writing this script was inspired by Camus’s absurdism. I wanted to bring this absurdism into the plight of the young generation of Chinese working class.

what we want to insinuate in this film?

Through this dark humour short film, we want to reveal the living conditions of China’s young working class without a clear direction or motivation, and nowhere to release their tenacity. They live a gambler’s life, and the fantasy of “making a fortune” has become a way out of their poverty to some extent. I aim to tell an interesting story through these characters, capturing the emptiness experienced by the younger generation and revealing the spiritual poverty that is prevalent in the post-epidemic era.

While deeply exploring the inescapable predicament faced by the poor, the film also touches on intimacy. Huang Jia and Si Hai gradually reveal their true selves while portraying the driver, who appear beautiful in fantasy but struggle in harsh reality. The concept of robbery was initially a fusion of their desire for a better life, but then inevitably turned into a fantasy segment of success for both of them. Ultimately, the success of their robbery and the tragic death of the driver bring together the absurdity of fantasy and reality. Their daydream of car robbery, a utopian escape from reality, constantly hangs over their struggle with mediocre life.

Nowadays, people’s pursuits are generally deeply influenced by the material world. We often feel uneasy when facing spiritual scarcity and constantly seek balance. In order to enhance the dramatic effect of this robbery, we plan to use dynamic camera movements, including multiple panoramic and tracking shots. In addition, we want to use some mirror shots to create fascinating illusions in the hotel scene. At the same time, the sound design will be through the fusion of string music and electronic music. I hope to balance the external conflict and highlight their inner alienation. In the story, Huang Jia and Si Hai keep hitting the wall when looking for opportunities to open their hearts to each other. The appearance of “a big ticket” is a satire and rebellion against the material world. My friends and I often joke that “spirituality is greater than matter”. We want to make this movie because it is a spiritual carrier that transcends the complex reality in some ways.

Finally, I chose the sound for screen direction because, apart from doing homework, I don’t have much or enough experiences working with film works and has a complete or mature outcome. I hope that through this project, I can be inspired and gain some insights into the situations and problems I will encounter when working with film works.

The COLLABORATING project with film practice student the director Wentao Liu

A poverty-stricken couple considers planning a car robbery for some quick cash, however, the line between fantasy and reality blurs as they become deeply engrossed in it.…

Concept Outline

In a coastal town in China, young working-class lovers, Huang Jia and Si Hai, conceive a daring plan to escape their dire reality: a car robbery. Huang Jia plays the role of a woman trying to escape from a dangerous past and an abusive relationship. She uses the excuse that her phone was left on the car to once again hitch a ride with Peter Chen, a driver who looks like the protagonist of a Hong Kong gangster film. Throughout the journey, Huang Jia skillfully manipulates Peter Chen’s sympathies and moral bottom line, using words and actions to seduce him and gain his trust.

Si Hai plays the role of the jerk of the relationship, described by Huang Jia as bipolar, who uses Huang Jia for profit. As tensions escalate, Huang Jia guides Peter Chen to a secluded parking lot, where she teams up with Si Hai to carry out the robbery. Peter Chen’s unexpected resistance increases the tension of the plot and pushes the story to a climax. They deliberately introduce obstacles into their fantasy to create the illusion of overcoming difficulties. In the end, they successfully rob Peter Chen of his money and escape in a Hollywood style in his car.

At sunrise, they wake up and start to implement their plan, only to realise that reality has shattered their absurd fantasy. This reality once again injects an element of dark humour into the story, highlighting the consequences of their actions and the impossibility of escaping the real environment.

the preference: which pathway I want to choose and collaborating with?

I have been highly interested in sound in film since the beginning of my academic career. In the first semester, I opted for the “Sound for Screen” pathway, attracted by the way sound influences emotion, rhythm, and psychological depth in moving images. My fascination with the ability of background music and atmospheric sound to enhance a visual narrative has always been present, often centering on how to “make sound good.”

Then, I am finding it difficult to decide whether to collaborate together with other artists related to Sound for Screen or to create a instrument intended for individuals with disabilities. Sound for screen is something I am interested in as a sound artist, so I think it would be beneficial for me to try more collaborations in this area and accumulate collaborative work experience. Nevertheless, I have never attempted to create or design musical instruments for special groups suz I believe this will be a particularly meaningful endeavour also.