Ma Li

Born in Beijing (Jingsheng)

Director: Ma Li

Genre: Documentary

Format: Digital Video

Length: 240 mins

Time of Release: 2012

 

Plot Summary

Here, a strange village, a strange group of people, a strange encounter.

The director spent six years digging deep into a village-in-the city in Beijing, a “petition” village. With her digital video camera, she starts a series of spiritual conversations with petitioners from all around China, and constructs, in this limited space, a reality so rarely known and yet so connected to the everyday life of this country.

Jingsheng, the titular character was born on the road of her mother, Mrs. Hao’s first petitioning journey toward Beijing, thus her name, which means literally “born in Beijing”. Since then, she has accompanied her mother on the road of petitioning for more than thirty years. In this film, small, humble human beings such as Jingsheng and her mother’s unique experiences and internal struggles were brought to our consciousness. The film started with the story of this village of “petition”, but the narrative was not limited to individual cases and went past the normal humdrum of complaints. It tried to depict the internal reality of every crawling creature. The entire film was devoid of color and used bold black-and-white imageries. The cinematography was powerful and steady, rhythm slow yet intense.

The director displayed complex human natures in the ever-changing and ruthless contemporary China. Rich emotions were intertwined with objective observations. It does not stop at charging the reality with the fringe society’s misfortune, and does not stop at aesthetic therapy either. It avoids the typical curiosity bait and cheap lyricism prevalent in this genre, but aims at prompting people to face their inner side, to face reality, and reflect upon the thin line between light and darkness.

 

Director’s Statement

Who, if I cried out, would hear me among the Angelic?

–Rainer Maria Rilke

 

It’s a freezing winter night.

After this very night, the last little hut in this village will be demolished. This village, after years and years of existence, had itself named, as the “petition” village. This night, in the little hut in the ruins, people are helpless. It’s not the first time they are abandoned and ignored. It will not be the last.

Tomorrow morning, people will leave in hurry. No one knows where to sleep at night, but no one will leave Beijing.

Two month later.

They will have a new life in a new petition village in a new corner of the city. This is the first rental shop opened by a seasoned petitioner. Mrs. Hao is the owner of the shop, with a record of 33 years in the petitioning business. Her reason to petition sounds absurd today, but she does not cower. Her daughter was born on the road of her first trip to Beijing. The daughter is 33 years old now, and she was named “Jingsheng,” born in Beijing.

We can finish another version of A Thousand and One Nights in this village.

For that, I moved myself and my digital video camera into the village. Or to put it more precisely, I started lurking here, for six entire years.

Without a doubt, this is a group of obsessive people, doing a seemingly obsessive deed. For that, they pain, they cry, they throw away their youth and strength, even their lives. All they want is that one day, they can win their cases and go back home in happiness, but they are caught in an invisible net, in unfamiliar land.

I witnessed the vast distance between their lives and their understanding of victory. I saw the conflict and splits in their personalities as they venture to close the gap. Through endless time, in the background of an invading and encroaching metropolis, they cowardly shoulder their loads of unresolvable humiliation and expectation. They leave on this earth an arc of life, if miserable, in this humble village at the foot of the great Emperor City.

I understand their hope, their helplessness, their misery, anger, even desperation. Their bravery and strength to survive in such difficulty puts me in awe. I emphasize with their soreness and bitterness, from being almost illiterate to being well versed in Constitutional law. I also detest their short-sightedness and cowardice, expressed in coarse words, them going into the obsessive extremes after their suffering seems unable to see the light of the day and choosing brash, suicidal means on this life path stricken with poverty and suffering.

They always ask me this question, full of expectation, that if I were them, what would I do? I’m speechless. I have never encountered anything nearly as ridiculous and absurd as they did. And I have neither the ability nor the strength to protect and save them. I cannot answer their question.

They often feel it takes much bigger courage for me, as a girl, to break into their world. They look at me full of gratefulness and care. I’m humiliated as a result. I often want to persuade them to leave this village, to go back to their home. But when they start crying out that they can’t go back, tears running down, I doubted in pain, that my persuasive words are destroying the fortress they built with all they have got, at the cost of sacrificing their quality of life, their dignity, their homeland, even life, petty as it is.

As a documentary filmmaker, I’m not aiming at documenting all the pain and tears, all the injustice and absurdity of this village just to call for sympathy, or advocacy. I’m also not just aiming at providing an alienated, variegated world unfamiliar to people for curiosity’s sake, so that people have something to talk about at dinner. I think, as a documentary filmmaker, if I fall in love with the misfortune of this village, all my documents would be meaningless. I would rather give up.

In the petition village, I was forced to accept life stories tainted with the powerful fate. The village made me realize sharp conflicts life almost always fails to self-explain, and the eagerness people want to understand, to interpret. All that is not explainable by those simple judicially mishandled cases they brought with them when they set off. I saw the predicament of life, like a giant net, is catching people without them realizing it. Once you are caught, there is no going forward or backward. One’s motivation at the beginning is disembodied, and his direction gets lost. People follow the conflicts of the complex life in total despair, making one inexplicable choice after another. Such self-repeating cycles always accumulate, until they are sent into this disfigured village.

This predicament. We know it so well, yet it’s so strange at the same time.

 

Past Awards and Exhibitions:

Rotterdam International Film Festival: China Focus, 2012

Critic’s Award for the FIRST Young Filmmaker’s Festival, 2012

Chameleon Award for the first Seoul Digital Film Festival, 2012

Critic’s Award, Beijing Independent Film Festival, 2012

Real Character Award, China Independent Film Festival, 2012

Bronze Award, Sunshine Chinese Documentary Award, 2012 (two-hour version).

 

No Mirror

All in the world are like mirror images. Without mirror, there will be no image. People are obsessed with the images, but they forget about the mirror,

They don’t know images are illusory, but the mirror is real. Though the images were illusions, their natures aren’t.

 

Genre: Documentary

Format: HD Video

Length: 120 mins

Director: Ma Li

Time of Release: 2011

 

Plot Summary

Shiqu, Sichuan, China – high altitude ethnic Tibetan area standing at 4500 meters above sea level. Lying there, on the edge of the world’s highest county town is a temple – Sexu Temple, a medium-sized, hardly noteworthy Tibetan Buddhist temple.

The film centers around the Sexu Temple, observing from multiple points inside its organism, including the Retreat Space, Debate Space, Scripture Convention, Celestial Burial Platform, among others, and tells multiple stories through five Lamars, one celestial burial master, and a secularized monk. It documents the unique life experiences and spiritual faiths of people living on plateau and displays the rarely known internal worlds of people living in extreme condition.

The film not only shapes a grand structure of narrative, paying attention to the everyday life on plateau, the Tibetan Buddhist teaching, and the monks in the temple, but also captures the subtle details involved in such setting. The director, with all her sincerity and perseverance, managed to knock open the mysterious small door of the always-enclosed Retreat Space and interviewed multiple practicing Lamars who had been in retreat for 2 to as long as 17 years. The crew, by happenstance, also came across the big annual Convention, and was allowed to document the whole process of celestial burial. This is a film with unique perspective, intense yet smooth rhythm, clean, aesthetically pleasing images and rich, subtle cinematic language.

 

Director’s Statement

One cannot avoid the topic of the plateau and religion. But as a director, I prefer the audience to go past ordinary curiosity to watch this documentary.

Shiqu, Sichuan, is the highest county in the entire world. Sexu Temple is located on the edge of the county town, 4500 meters above sea level, almost uninhabitable.

There are lots of temples on the plateau, more than villages. Sexu Temple is neither the biggest nor the smallest. It is ordinary. People living on the plateau need temples. They protect their lives and their souls.

It’s high and cold, thus the loneliness. Few people come here, and few leave. Before the plateau was opened to the outside, no one told them there was a world out there. They were not informed of the possibility, to go away, to see more.

So, generation after generation of plateau people rotates around the mountain, follows the temple, and observes ancient Buddhist teachings. They live their lives, generation after generation, on the sometimes sunny, sometimes snowy plateau.

Turning the draconic living situation around is impossible. Perhaps people realized this a long time ago. So they invented a poetic way to go through life. They imagine the next life to be in heaven, in happiness. They rely on Buddha’s laws, to repress their restlessness and anxiety. They try their best to face this life’s suffering and sadness, because they believe once you are on the celestial burial platform, once you devote your life to the vultures in the sky, your soul is going to heaven.

Life is complex. They also struggle, they doubt, they wonder. But any wavering is minimal. The moon hangs on top of the temple at night, sometimes bright, sometimes dark, night after night. Sometimes I feel like I’m planted on this plateau, one that is without history, and without time.

 

Past Exhibitions

Yunnan Multi Culture Visual Festival, 2011

Critic’s Award and Best Technical Merit Award, Beijing New Youth Film Festival, 2011

Festival International Jean Rouch, 2011

 

导演简介

马莉 纪录片工作者

作品:《京生》

类  型: 纪录片

规  格: DV

片  长: 240分钟

导  演: 马莉

出  品: 2012年

 

作品简介

一个奇特的村莊,一群奇特的人,一堆奇特的遭遇。

导演用了6年的时光,深入位于北京的一个城中村落——上访村。她凭借手中的一台DV,与一群怀揣状纸来自天南海北的上访人展开心灵对话,在有限的空间里构建出了一个既鲜为人知,又与我们的生存息息相关的真实世界。

片 名《京生》取自片中主人公的名字,她出生于母亲老郝来京上访的路上,从此,陪同母亲在京上访长达三十多年。影片讲述了以京生和她的母亲为代表的一群卑微的 小人物们的独特遭遇和内心挣扎。影片从上访村的故事开始,摆脱个案,超越抱怨,讲出了所有爬行着的人的命运。全片摒弃色彩,大胆使用黑白影像,取景沉稳有 力,节奏沉缓却富于张力。

导演从容展现了中国当代社会的无奈现状和变革时代的复杂人性,既有冷静而客观的观察,同时又饱含着感同身受的真情 实感 。影片从边缘群体切入,却不满足于对现状的控诉,也不止步于艺术的疗伤,更不贪恋对弱势人群的猎奇和廉价的煽情。它驱使我们面对内心,面对真实,反思光明 与黑暗。

 

导演阐述

谁,倘若我叫喊,可以从天使的序列中听见我?

——里尔克

 

这是一个寒冷的冬夜。

度过这个夜晚,村庄的最后一间小屋就要被拆了。村庄用了很多年在北京城里,有了自己的名字:上访村。这一夜,废墟间的小屋中,人们无限茫然。这不是第一次被抛弃和被冷落,也将不会是最后一次。

清晨,人们仓促离开村庄,没有人知道今夜将落脚何处,但谁也不会离开北京城。

二个月后。

人们又在新的角落有了自己新的世界和新的上访村。这是一家老访户开的一家出租店。老郝是店主,上访33年。她的上访案由,今天看来,匪夷所思,但她坚定不移。女儿出生在第一次来北京的上访路上。今年33岁,老郝为女儿取名京生。

关于这个村庄的故事可以编成一千零一夜。

为此,我,一台DV,住进村庄,更准确的说是潜伏,整整6年。

毫无疑问,这是一群偏执的人,做着一桩看似偏执的事。为此,他们痛苦,哀号,付以青春,甚或生命。他们所有的坚持都是为了有一天可以打赢官司幸福回乡,但他们被一张无形的网,网在了异乡。

我看到他们与自我理解的胜利之间无法逾越的距离,我看到他们为了逼近这段距离所贲发的人性的冲突与分裂。在漫长的时光之中,在大都市滚滚红尘的骄横侵掠之下,他们怯弱的背负着难以排解的委屈和期望,在皇城之根一个卑微的村庄中划出的一道道惨淡的生命弧光。

我 理解他们期待、无奈、痛楚、愤懑甚至绝望的复杂情感;我惊叹他们在困境中顽强存活的勇气和力量;我悲哀于他们中的大多数胸无点墨却捍卫成通晓宪法的艰辛和 酸楚;我敬佩他们历尽人生冷漠和残酷之后依然牢牢坚守着的质朴与善良;我也痛恨他们粗砺的言词中流露的短视与懦弱、他们在苦难无法得到消解之后蔓延的偏激 与固执,他们在穷途之中选择方式的莽撞和自戕。

他们总是满怀期待的问我,如果你是我,你会怎么办?我哑口无言。 我从未曾遭遇过他们人生中的荒唐与离奇,艰涩与无望。我既无保护他们的气概也无拯救他们的力度,我没法回答。

他 们总是觉得我一个女孩单身闯入他们的世界需要更大的勇气, 他们的目光充满感激和呵护。我羞愧无比。我常常希望能劝慰他们能离开那个村庄,回到自己的家乡。可是当他们泪流满面的哭喊着回不去的那一刻,我痛苦地怀 疑,自己的劝慰是否损伤他们用全部的身心,以牺牲生活品质、尊严、家乡甚至生命为代价建筑起来的异乡堡垒,尽管它是那么的卑微。

作 为一个纪录片工作者,我并不是仅仅想将这个村庄里的苦难和泪水,不公或者荒谬纪录进我的影像来博取怜悯然后激发呐喊。我也并非猎奇,来勾勒一个被大多数人 遗忘或者从来不曾知道的,那个世界的万姿千态来供自我或者他人饭后的谈资。我以为,作为一名纪录片工作者,如果因为故事因为情节而爱上这个村庄的不幸,那 么纪录将失去全部意义,我宁愿选择放弃。

在上访村,我被迫接纳强大的命运经盘嘲弄出的人生故事。村庄让我看到,生 活中永远不能解释出来的尖锐的冲突,以及人们迫切需要理解和解释它的热烈的愿望。远非他们出发时一场简单的司法错误所能解释。我看到,生存困境,如同一张 巨网,人们身不由己的被卷入。一旦进入,无法前行也无法后退。出发的动因被肢解,出发的方向渐渐迷失。人们无奈跟随生活错综的冲突,作出一次又一次永远无 从解释的选择。如此循环,如此往复,直至被送往一个畸形的村庄。

这种窘境,我既熟悉也陌生。

 

参展记录:

2012 年鹿特丹国际电影节中国单元

2012 年FIRST青年电影节评委会特别奖

2012 年首尔数字电影节绿变色龙奖

2012 年中国北京独立电影节评委会奖

2012 年中国独立影像年度展真实人物奖

2012 年阳光华语纪录片铜奖(2小时版)

 

《无镜》

世间万象如镜中影,无镜就无影 ,众生迷影而忘镜,

不知影虽虚幻,而镜为实有,相虽妄现 而性实不虚。

 

类  型:纪录片

规  格:高清

片  长:120分钟

导  演:马莉

出  品:2011年

 

作 品 简 介

中国四川石渠——海拔4500米的高原藏区,世界上海拔最高的县城一侧的一座寺院——色须寺,一座不大不小并不见得有多重要的藏传佛教寺院。

影片以色须寺为中心,以闭关院,密宗院,辩经院,大法会,天葬台等为观察点,着重通过五个喇嘛和一个天葬师、一个还俗僧人不同的经历和讲述,真实的记录下了高原上人们独特的生活经历和精神信仰,展现了极端生活条件下一群不被关注的人的内心世界。

影 片对高原生活、藏传佛教、寺院僧人的关注,既有意境高远的宏观架构,又有细腻生动的微观刻画。在拍摄过程中,导演以其真诚和执着第一次用镜头叩开了闭关院 那从不开放的神秘小门,亲身采访了已闭关两年甚至闭关17年以上的数位修行喇嘛。摄制组还恰逢一年一度的万人大法会盛事,期间第一次被允许近距离完整拍摄 下了天葬的全过程。全片视角独特,叙事节奏舒缓而又充满张力,影像干净唯美,镜头语言细腻饱满。

 

导 演 阐 述

无法回避高原和宗教。但作为导演,我更愿意你越过对高原和宗教的猎奇心态来观察这部纪录片。

四川省石渠,中国也是世界海拔最高的县城。色须寺在县城一侧。4500米的海拔,几乎无法生存。

多寺庙,多过村庄。色须寺不大也不算小,极普通。高原人需要寺庙,因为它保卫着他们的生活,也保卫着他们的心灵。

高和寒,决定了土地上的孤单。很少有人进入,也很少有人离开,在高地被打开之前,实际上是无人告诉他们,可以思考到外面的世界去闯荡之类的问题。

于是,一代又一代的高原人转着山,围着寺,守着佛的法,在时晴时雪的高原上过着一辈又一辈。

扭 转严酷的生存环境,是无法实现的,也许人们很早以前就已经明白。于是他们发明了一种诗意地渡过今生的路径。他们把来世想象为幸福的天堂,他们以佛的法为依 归,来压制内心的骚动与不安。他们尽量若无其事的面对今世的苦与愁,他们相信当躺在天葬台上,可以安静的将身献给秃鹫的那一刻,他们的灵魂将飞向天堂。

生活是纷繁而复杂的。他们也挣扎,也彷徨,也苦惑。但,摇动是微小的。月亮在黑夜的寺的上空,时明时暗,一夜又一夜。常常我会觉得,我置身的这片高地,没有历史,也没有时间。

 

参展记录:

2011 云之南纪录影像展

Yunnan Multi Culture Visual Festival

2011 北京新青年影像年度展

Beijing New Youth Film Festival

北京新青年影像年度展评委会特别奖

北京新青年影像年度展最佳技术奖

2011 Festival International Jean Rouch