A fiction film production - Prenuptial Invoice

Many people don't understand why we made this short film. They fail to comprehend why a group of individuals secluded themselves day and night, indulging in self-imagination, to complete this less-than-10-minute short film.

What is the purpose behind it all?

It's akin to the message conveyed in the movie "Soul," which emphasizes to the audience, "Life is inherently meaningless; the meaning of life is something you create for yourself."

Reviewing the independently implemented course of this semester, it felt like organizing a six-month-long wedding, starting from the teacher encouraging us to brainstorm ideas for our classroom story. We went on to discuss the script, plot synopsis, storyline, brief plot overview, scene outline, character introduction, character profiles, and character relationship diagrams. The process continued with casting, location scouting, set design, rehearsals, blocking, and finally, the production and completion of the work.

Initially, I didn't consider many production details; I simply wanted to create a story that had some personal significance. However, as time progressed and group members were added or dropped, it forced me to grow.

Auditions

Storyboard

Production stills

Poster

Short film delivery before the wedding, portraying the unresolved concerns of the female protagonist, Ci'en through recurring receipts, as she must handle her father's affairs before the wedding.

The film heavily incorporates the use of the color blue to depict her state of mind.

Blue is melancholic, much like the film "Blue Is the Warmest Colour" Confronting the deaths of her husband and daughter, only by facing reality head-on can she attain true freedom. Blue is also the warmest color; it represents the protagonist's inner vulnerability and serves as the most nostalgic place for her father—a quiet, warm blue sea.

The filmmaking process involves constantly confronting and exploring the depths of the creator's heart, akin to rediscovering long-forgotten pure emotions.

In the scene at the bridal shop, there was a moment of panic when the pre-selected dress for the main actress couldn't be found. Initially considering alternatives, none seemed fitting. Eventually, in a corner of the fitting room, a hidden darkroom revealed the prepared wedding dress chosen by the main actress.

Many moments were not timely documented during the process, which is regrettable, but it's also a gained experience. As long as the body's sensations remember, that's sufficient.

Filmmaking, in my opinion, is like experiencing a sleepwalk. The emotions during the process are the most crucial; while the final product may not be perfect, the feelings and growth throughout the journey are authentic. Each time is a nourishment for continuous improvement.

Finally, special thanks to Teacher Jia Kun for patient guidance throughout, and to my producer Nancy, Pei Yi, cinematographers Huai Shi and Pu Yuan, art directors Fan Pei and Yuan Ming—they are not only classmates but also the best working partners. There are too many people to thank, so thank god.