On a mountain slope in northern China, a man picks pears to bring to his wife in the city. The young couple is in the process of building a new house, a villa with two floors, a concrete symbol of Chinese economic growth. However, they are running out of money to complete the house, and the man’s wife must work as a prostitute in a provincial brothel to make ends meet…A restrained and thought-provoking feature film debut by director Zhang Ciyu, who has previously made several short films. UCCA Indie Film Forum invites director Zhang Ciyu sharing this films with the audience.

Pear
2010.China. Zhang Ciyu .87 mins. Chinese and English subtitles

In a country town, a man gathers fruit from a local pear tree and goes to city to meet his wife. Those are what she likes. The man and his wife are building a big two-story house up on a hill, and the wife prostitutes herself in the city to raise money for their house-their dream home. The brighter it shines in their imaginary future, the gloomier their real present looks and feels. The dream seems to whither, just as the pears rot in that dark place.

Awards:
8th Annual Chinese Independent Film Festival Debut Award
Selected at the 15th Busan international film festival
Selected at The 32nd three continents Nantes festival of France

Zhang Ciyu, born in West of Hunan Province, Southwest China, is now pursuing his M.A. degree in the Department of New Media Art, Beijing Film Academy. He was trained in visual arts in Guangzhou Academy of Fine Arts during his undergraduate years. He worked as a college teacher in the University of Jishou, Hunan. From 2005 he began to make documentaries in ethnic villages near Jishou. He made the experimental film “State”, “The Story of Life” in 2009. He made the experimental film “Paper Art, Wooden House” in 2008. In 2006, he worked as an art director for the film “The Red Jacket”. His effort in making films is to make room for the audiences to interpret the motion pictures rather than to impose the director’s limited perspective.

This film based on reality, symbolizes true images from life, in which epitomize my attitude and perspective to humanity and life.

In terms of acting, I almost give up the most effective way to communicate with audience through actors. I’d rather make efforts on building another kind of communication bond than to let actors colorfully present, so that could possibly serve the whole flavor of my film.

From the aesthetics point of view, I intend to put meaningful elements into the calm pictures. The entire film was full of oriental subtle beauty of obscuration. I didn’t draw any conclusion to those events happened in the film; but make the story ending open to audience according to their own experience and perception.

As far as the movie language is concerned, I make hierarchy of layers to full length shots: Usually one full length shot has many different layers, and from its interactive mutual flowing audience could get diversified results and perceptions. Even the close-up scenes were treated by different levels so that further information could be added into. I dare to break the traditional rules in order to pursuit unique creativity which may better serve the theme.

Moderator: Zhang Xianmin

Partner: Indie Workshop