在北京西北部，隨著「三山五園」相關政策的推進，正逐步影響著特定區域的空間形態與使用方式。一些城中村在規劃與整治過程中，進入了調整與更新的階段。隨著環境的變化，部分居民經歷搬遷，原有的生活痕跡也在逐漸轉變。

在此過程中，現場遺留下來的物件，成為觀察這一變動的重要線索。本片以行為藝術的方式進行介入，對這些被遺留的日常物品進行收集與整理，並以特定的方法加以保存與呈現。這些物件不被重新詮釋，而是作為時間與使用痕跡的載體，被保留下來。

透過對空間變化與物件存留狀態的記錄，本片嘗試提供一種觀看城市更新過程的視角，呈現人在其中的流動，以及物與環境之間的關係。

Misty Garden (2026)

In the northwest of Beijing, the implementation of policies related to the “Three Hills and Five Gardens” is gradually influencing the spatial structure and usage of certain areas. Some urban villages, undergoing planning and renovation, are entering a phase of transition. As the environment changes, parts of the population relocate, and traces of everyday life begin to shift accordingly.

Within this process, objects left behind on site become important clues for observing these transformations. This film engages through a form of performance-based artistic intervention, collecting and organizing these abandoned everyday items, and preserving them through specific methods of presentation. Rather than reinterpreting them, these objects are retained as carriers of time and use.

By documenting spatial change and the conditions of what remains, the film attempts to offer a perspective on urban transformation, reflecting the movement of people and the relationship between objects and their environments.

Genres: Documentary

Runtime: 94 mins

Language: Mandarin

Director: ZHOU Chengzhou / WANG Xin

Producer: ZHOU Chengzhou / WANG XIn

Witer: ZHOU Chengzhou

Cinematographer: WANG Xin / LIU Junli / ZHOU Chengzhou / WANG Guoqing

Performer: ZHOU Chengzhou

Editor: ZHOU Chengzhou

Country of Origin： Netherlands

导演阐述

《翻山越園》導演闡述

《翻山越園》的拍攝始於2022年疫情期間，並於2026年完成全部拍攝與後期製作。這四年的時間跨度，不只是作品形成的過程，也構成了影片本身的一部分。疫情所帶來的封閉、停滯與城市節奏的改變，使我開始重新思考：人在城市更新與空間變化之中，究竟留下了什麼，又失去了什麼。

影片聚焦於北京西北部「三山五園」相關政策推進下的空間變化。隨著城市規劃與整治的展開，一些城中村逐漸進入調整與更新階段。原有的生活空間被重新定義，部分居民在搬遷中離開，而那些曾經屬於日常生活的痕跡，也隨之慢慢消失。對我而言，真正值得被注視的，並不只是空間的消失本身，而是那些被遺留下來的物件——它們像是時間暫時停留後留下的證據。

因此，本片以行為藝術的方式介入現場。我嘗試對遺留於空間中的日常物品進行收集、整理與保存，並透過特定的方式重新呈現它們。這些物件並非被賦予新的象徵意義，也不是作為懷舊的展覽材料存在，而是作為時間與使用痕跡的載體被保留下來。它們自身已經攜帶著人的氣息、生活的重量，以及空間變遷留下的沉默信息。

在創作方法上，我希望突破傳統紀錄片單一的觀看方式。影片並不只是對現實進行被動記錄，而是試圖讓影像主動進入現場，讓行為藝術與紀錄片語言彼此交錯。這種介入既保留了紀錄片對真實的敏感，也讓作品獲得了一種更接近身體經驗與精神感知的表達方式。我希望觀眾在觀看時，不只是看到城市更新的表面過程，而能感受到人在其中的流動、停留與消失。

同時，影片也嘗試運用AI技術完成一些過去無法實現的鏡頭。AI在本片中並非作為單純的技術展示，而是一種新的影像方法。它幫助我重新建構那些難以被攝影機直接捕捉的感受，例如記憶的斷裂、空間消失後殘留的情緒，以及現實與時間交疊的狀態。透過AI生成與真實影像的結合，影片得以進一步延伸紀錄片的邊界，使那些不可見、不可重現的部分，獲得新的視覺形式。

《翻山越園》並不試圖對城市更新做出結論，也不提供明確立場。它更像是一種觀看與保存的行動：透過對空間、物件與人的持續凝視，去記錄一段正在消失的時間。對我而言，這部作品不只是一次紀錄片創作，更是一種關於記憶、現場與城市關係的影像實驗。

Director’s Statement
Misty Garden(2026)

The filming of Misty Garden began during the pandemic in 2022 and was completed in 2026 through the final stages of post-production. The four-year span is not only the production period of the film, but also an integral part of the work itself. The atmosphere of isolation, suspension, and shifting urban rhythms brought by the pandemic led me to reconsider what remains—and what disappears—within processes of urban transformation.

The film focuses on the northwestern area of Beijing, where policies related to the “Three Hills and Five Gardens” initiative have gradually reshaped the spatial structure and usage of specific regions. As urban planning and redevelopment advanced, several urban villages entered phases of adjustment and renewal. Residents were relocated, former living spaces redefined, and traces of everyday life slowly faded away. For me, what deserves attention is not only the disappearance of space itself, but also the objects left behind—objects that remain like fragments of suspended time.

Through the methodology of performance art, the film intervenes directly within these changing sites. I collected, organized, and preserved abandoned everyday objects found within the spaces undergoing transformation, presenting them through specific acts and gestures. These objects are not reinterpreted symbolically, nor are they displayed as nostalgic artifacts. Instead, they are preserved as carriers of time and traces of use. They already contain the presence of people, the weight of daily life, and the silent evidence of spatial change.

Formally, I wanted to move beyond the conventional language of documentary filmmaking. Rather than functioning solely as passive observation, the film attempts to actively enter the reality it records, allowing performance art and documentary practice to intersect. This approach maintains documentary’s sensitivity to reality while opening a more experiential and psychological dimension of expression. I hope the audience does not simply observe the visible process of urban redevelopment, but also senses the movement, displacement, and disappearance of people within it.

At the same time, the film experiments with AI technology to realize images and sequences that would have previously been impossible to create. In this work, AI is not used as a technological spectacle, but as a new cinematic language. It allows the reconstruction of fragmented memories, invisible emotional states, and the overlapping relationship between time and space—elements that traditional cameras alone often cannot capture directly. By combining AI-generated imagery with documentary footage, the film seeks to expand the boundaries of documentary itself, giving visual form to what is otherwise unrecordable or absent.

Across the Hills and Gardens does not attempt to provide conclusions about urban renewal, nor does it propose a singular position. Instead, it functions as an act of observation and preservation: a sustained gaze upon spaces, objects, and human traces during a moment of disappearance. For me, this work is not only a documentary film, but also an experiment in image-making—one that reflects on memory, presence, and the evolving relationship between people and the city.

Trailer：

Poster

This project is a series of analog photographic works created with medium-format film. By juxtaposing and reconstructing the subconscious experiences of the subjects with my own subconscious states, I seek to generate a visual field situated between reality and psychology. Photography here is no longer merely a tool of documentation, but a passage into inner mental structures.

Throughout the creative process, the subjects are not passive “objects” of the image, but active participants in its formation. Their emotions, memories, anxieties, desires, and unarticulated psychological states interact with my own perceptions, projections, and intuitions during the act of photographing. This layering of dual subconscious states results in images that are ambiguous, drifting, and unstable—positioned between private experience and collective sensibility.

The project focuses on the mental ideologies of individuals within urban and peri-urban spaces. In highly structured and rapidly operating urban environments, psychological states are often fragmented and compressed. Pathological conditions—such as disorder, anxiety, repression, and alienation—coexist with non-pathological states of self-repair, escape, imagination, and subtle tenderness. These conditions are not oppositional, but simultaneous and interpenetrating.

The inherent uncertainty, temporal delay, and physical traces of medium-format film constitute an essential component of the project. Grain, color shifts, soft focus, and chance intensify the psychological tension within the images, allowing them to more closely resemble the operations of the subconscious—nonlinear and nonrational, yet deeply connected to inner experience.

Through this body of work, I aim to present a psychological portrait within an urban context. Rather than offering a clear narrative or diagnosis, the project preserves ambiguity and openness, inviting viewers to resonate with their own subconscious and to reconsider the unstable boundary between the “pathological” and the “normal.”

SUB-SUBCONSICOUS – 2020

UNREFLEX LAND – 2021

XIAO MEI – 2021

TIMES PARADISE – 2022

IRISES BLOOM – 2022

SAN SAN – 2025

Ode to Wither-2025

Misty garden-2026

The relationship between freedom and gaze has never belonged to a single species.
When humanity defines nature in the name of civilization, nature responds to that gaze with silence.

During my exploration in Africa, I gradually realized that the hierarchical structures within animal societies bear no essential difference from the power systems of human civilization. The distinction lies only in purity — a direct and unmediated order of survival. If, in the human world, money serves as the medium that sustains freedom and mobility, then in the animal world, what sustains their “freedom” might, paradoxically, be humanity itself — as observer, controller, and the author of their narrative. I, too, have become both the observer and the narrator.

As night descends, the world of animals transforms into a distorted zoo. The order of daylight dissolves into darkness; within the realm of dreams, they begin to regenerate — composing their own sequences of existence, articulating another form of self-narration. The iridescent lights that pierce through their bodies symbolize an attempt to reclaim subjectivity from within the condition of being watched.

Distorted Zoo is not a representation of nature, but a metaphorical inquiry into power, gaze, and freedom. Through the reconfiguration of animal imagery, the work exposes the contradictions embedded in human perception: in constructing the image of nature under the guise of civilization, we simultaneously dismantle the boundaries of our own being.

Within this “zoo,” the relationship between humans and animals is refracted.
Freedom becomes a spectacle of observation, while the gaze itself unfolds as a gentle yet persistent form of violence.

“Noisoma 1/3” — The Self-Organizing Order of Electronic Noise and Dream

Noisoma employs electronic noise as its primary sonic language to explore the shifting balance between chaos and order within dream states. Here, noise is no longer a disturbance or residue—it becomes a self-generating acoustic organism, possessing its own rhythm, logic, and breath.

Both dream and electronic noise share a non-linear structure: fragmented, discontinuous, and seemingly chaotic, yet governed by an implicit coherence beneath the surface. Through algorithmic noise generation and the layering of dream fragments, the work transforms sound into a reflective space of the subconscious.

The sound field resists melodic harmony or rhythmic regularity. Instead, it invites the listener into a state of perceptual disorientation—an in-between condition of wakefulness and sleep, where frequencies collide and dissolve. Noise here becomes the language of dreams: an acoustic metaphor for the collapse of order and the reassembly of meaning.

Director ZHOU Chengzhou

Producer LI Yujun

Main person SHAMA Wusan, SHAMA Wuniu, WANG Ying, SHAMA Jiaqiang, SHAMA Wujia

Cinematographer/Editor ZHOU Chengzhou

Runtime: 24m 57s

IMDb:https://www.imdb.com/title/tt38349185

Director Statement

In this documentary, the central recurring image is a dead pig drifting along a flowing river. In Chinese culture, pigs symbolize wealth; a dead pig, rotting on the water’s surface, evokes the loss of once-cherished wealth, faith, and hope. Though her father’s love has faded into the past, the water continues to flow—embodying the resilience of life, the passage of time, and an unstoppable vitality. Like the river itself, the little girl carries on with an unyielding, vibrant spirit.

The film follows a young Yi ethnic girl and her friends in Xide County, a remote mountainous area in western Sichuan. In the post-pandemic era, their world has not stood still. Above the ground, the water veins still run; life continues to search for a way forward.

Through the girls’ daily games, moments of confusion, and shared dreams, we witness a small yet unyielding force of life. The dead pig will inevitably decay, but the water — gentle yet steadfast — never stops flowing.

This is a story about loss and continuation, and a record of how children in the marginalized mountain regions of China continue to grow.

Trailer 

情感

我向大地

撒了那么多的避孕套

就是为了给大地一些情感

可它们总是被雨水冲走

偶尔被小鸟叼去筑巢

或是

被羊吃掉

或是

让它们没有形状而又充满永恒的冲动

像火山一样的喷发

Emotions

I scatter so many condoms

across the earth,

just to give the earth

some emotions.

But they are always washed away by the rain,

sometimes taken by birds to build their nests,

or

eaten by sheep,

or

shapeless, yet still filled

with an eternal impulse,

erupting

like a volcano.

2，

尿的意愿

我今天

在没人的森林里

滋润了一颗干涸的松果

松果发出了声响

希望它是个姑娘

The Will to Pee

Today,
in an empty forest,
Nourished a dry pinecone.

The pinecone made a sound.
I hope it was a girl.