András Bálint Kovács

Record what the figure perceives, how the body is affected, and what action follows; then ask whether that action alters the milieu and supplies usable cues for the next perception. At which link does the circuit break?

Does narration change the actual relation among speaker, filmmaker, and collective?

Who speaks, to whom, through which path, and which conditions, responses, and consequences does the image show?

Ruins exceed the reach of reparative action. The child becomes a seer before the intolerable, and the action-chain collapses from within.

Katherine is struck by unfolding landscapes and visual clichés, discovering something beyond what she can personally bear. She no longer resolves what she sees through action but becomes a seer.

Factory 420 is being demolished, so the place named by testimony disappears from the image while it is being narrated. Workers and performers including Joan Chen, Lü Liping, and Zhao Tao share the same frontal interview form. The film neither lets professional identity settle truth nor equates performance with deceit; dialect, pause, facial detail, old photographs, popular songs, and demolition dust test one another. Here the power of the false does not abolish history. It forces history to acknowledge that urban memory can only be produced among heterogeneous tellings.