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《How to make a Zongzi》

This is a stop-motion short film using LEGO to reimagine a modern twist on Chinese mythology. The story follows the legendary figure Sun Wukong (the Monkey King) as he attempts to make zongzi (traditional rice dumplings) in a whimsical LEGO universe. The film blends LEGO animation, VFX, traditional festival elements, and live-action footage to create a playful yet culturally resonant visual narrative.

I directed and shot the entire film independently, handling all aspects including camera work, stop-motion animation, visual composition, and post-production. This project allowed me to explore the intersection between traditional storytelling and contemporary animation techniques.

《Close Loop》

Loop is a psychological thriller short film set in Sydney, inspired by real-life concerns around safety and fear. The story follows a Chinese international student who begins to suffer from paranoia after a series of violent crimes occur in the city. Her heightened anxiety leads to severe delusions, and one night on her way home, she mistakenly kills her boyfriend—who had planned to surprise her—believing he was a threat.

Told from a subjective and fragmented perspective, the film explores the collapse of psychological boundaries under extreme stress. I served as the director of photography on this project, while also contributing as co-director and co-writer. My role focused on crafting the visual language, atmosphere, and pacing to reflect the protagonist’s deteriorating mental state. This film allowed me to experiment with tension-building techniques and narrative ambiguity to evoke emotional and psychological impact.

《Shadow》

Shadow is an experimental short film born from a spontaneous thought:

“What if your shadow came to life?”

The film follows a man waking up and going about his morning routine—until his own shadow, silently observing him, seizes the opportunity to stab him from behind. In a chilling twist, the shadow then turns directly toward the camera, lifting the knife as if to attack the viewer.

This piece was entirely self-produced, self-directed, and self-performed. I explored techniques such as visual misalignment, duality of self, and fourth-wall breaks to create an atmosphere of paranoia and psychological tension. The project reflects my interest in the subconscious, inner conflict, and cinematic surrealism.

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