THE IMMORTAL 永生
EXPERIMENTAL SHORT FILM, Performing Art 实验短片，表演
Director: Anna Borou Yu Writer: Anna Borou Yu Producer: Anna Borou Yu, Jiajian Min Key Cast: Anna Borou Yu Sound Design: Tiange Zhou Cinematography: Jiajian Min, Hao Yan, Lu Ren Editorial: Jiajian Min, Anna Borou Yu
导演：于博柔 编剧： 于博柔 制片： 于博柔，闵嘉剑 主演：于博柔 声音设计：周天歌 剪辑：闵嘉剑，于博柔 拍摄：闵嘉剑，严豪，任璐
Featured in American Filmatic Arts Awards, Lisbon Film Rendezvous, Indie Short Fest, Anatolia International Film Festival, Ritu Rangam Film Festival 2020 (International), Luleå International Film Festival, Fisura, International Festival of Experimental Film & Video Year: 2020
作品荣获美国电影艺术奖，参展于独立短片电影节，里斯本电影展，吕勒奥国际电影节，安纳托利亚国际电影节，Fisura国际实验影像电影节赛博女性主义展览
This experimental short film is inspired by the novel of Jorge Luis Borges, "The Immortal". A series of lifeless copies derive from the existence of human beings. On the one hand, living bodies own the freedom in space, while eventually they would pass away. On the other hand, the fabricated copies are untransportable, while they occupy an eternal moment in the maze of time. The 3d printed lips and hands, the water-filled plastic gloves, the masks, the plastic membrane, and the digital illustration of human beings are nested and projected and overlaid, intertwining with each other. An intricate relationship, dialogue, complement, competition as well as coexistence comes to being.
The dark room is the modern version of Plato's cave, where the floating projection is the reunion of men and memory. Immersed, the lifeless copies unconsciously grow with desire and fear. The real existence and the shadow are recorded at the same time, insensibly the physicality blurs, and the still image is captured in focus in eternity. The solidified natural scenery is a momentary awakeness, and the human beings keep regurgitating and rewriting their own memory, until the images disappear and only the sentences sustain.
Video, sound, light and text collage together, struggling to reform each other, breaking the reality into fragments. The ancient ritual of manual needlework connects the desultory entities. However, A Coat of Many Colors is a metaphor for lies. Truth and false pullulate as chaos. According to the Chinese philosopher Zhuangzi in 300 BC, invisible and visible, abstract and figurative, are always the two sides appearing on the same coin simultaneously. And according to Borges, when the Immortal Rufus was restored to a dying body, he acquired eternal happiness.
Since Ulysses, we are all like migratory birds, in a world where the cosmopolitan wandering has become an eternal proposition shared by mankind. The distributed memories and perceptions are free from the physical bodies,and constantly being picked up. A Chinese poet Muxin once quoted, the autumn breeze brings back the immemorial. After all, the future is a distant past, recurring once upon a time.
本片概念来自于博尔赫斯的小说《永生》。由于人的存在，衍生了一系列拷贝体。生命体在空间中游历，但终有一天将会消逝，无生命的拷贝体静止原地，却在时间的洪流中占据永恒一隅。3d打印的嘴唇与手掌、充水的塑胶手套、口罩、塑料薄膜、与人的数字影像相互嵌套叠合，形成错综的关系，彼此对话、补充、争夺与共存。
暗室如同柏拉图的洞穴，浮动的投影是人与记忆的重逢。拷贝体沉浸于其中，不知觉地获得生命，也产生欲望与恐惧。实存与影子同时被摄录，真实的躯体逐渐模糊，无生命的影像却被长久清晰对焦。固化的自然风景是一瞬体悟，人则不断反刍改写，直至形象消失，唯余语句。
影像、声音、光与文字拼贴，互相拥挤挣扎改写，曾经的真实也将成为碎片。手工缝补的古老仪式连接了断续的实体，百色衣的隐喻却意味着谎言。真真假假，假假真真。庄子言，形之不形，不形而形。当博尔赫斯的永生者恢复为非不朽的肉身，他却感到永恒的幸福。
从尤利西斯到候鸟般的漂泊，世界性的流浪成为人类共享的永恒命题。被分布的记忆与感知游离于肉身，长久流浪，不断被采撷。秋天的风从往日吹来。未来，也曾是遥远的曾经。
