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The Best Linda Chiu-han Lai Directed Movies

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10957 Moons and 30 Elliptical Years is an eight-part collage of events, objects, thoughts, and sensations drawn from Lai’s personal moving image archive, assembled between 1991 and 2021. Describing herself as a modern-day ‘flâneuse’, Lai interweaves diaristic video fragments, with found footage from film and television, as well as exhibition and performance documentation.

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I have been a fervent walker of the city and a detached collector of sights and sounds. Most of the outdoor sites in this work no long exist in current maps of Hong Kong, or they have never existed as practical, concrete dwellings.

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The myth of Cinderella undergoes a series of generative twist to illumine the inventive power of speech. 11 children and 3 educated women engaged in a game of improvisation via their talking-head camera presence. Tale-telling to some children is the realization of creative instincts, to others the performance of self, or it's simply a tedious pedagogic vessel. My research-creation completes with adult women transforming the usage of Cinderella-objects into agents of their own stories, however fragmentary or elliptical. The event of tale-telling woke up the child in them; children language was appropriated to perform unarticulated subjectivities. Gender is a complex system, most revealing in language-in-action. The coda is a grand finale celebrating the magical power of objects and their own unlimited lives. Story-telling is the most primitive form of play. Harmless it may look, it is also the most sophisticated embodiment of ideological workings.

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Trespassing World Cities records how I struggled away from the tourist video style to seek for an impersonal form to pose my response to a world of big cities whose individual distinctive is increasingly blurred. This is a travel journal in the literal sense of the term. The video records my walking through a dozen of major cities around the world, repeating routes and activities, between 1999 and 2005. The mythology of the multiple colors of diverse world cultures shatters. I found myself doing the same things, repeating places I have visited, and inside my mind is often a totally different world irrelevant to the places I visit. Globalization is a popular catch word, the token of economism. Personally speaking, it is a form of irony.

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The video is a narrative game reconstructing Lai's own video diaries (1990-2003) and found footage. It plays with the thin line between remembering and fabricating, recording and staging, documentary and story... It shows 13 women's stories as a network of acquaintances, each in an isolated moment of her life. Questions on the practice of auto-ethnography are raised via "the politics of the everyday."

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Door Game is a narrative game playing with the found footage of a number of family ethics melodramas from HK Cantonese cinema of the 1950s and 1960s. By re-assembling loose fragments into some kind of coherent structures, I reveal the hidden logic of the genre, exposing the repetitive elements. Through story-creation, my critique of the gender-biased, formulaic quality inherent to Cantonese melodramas evolves. I want to expose the arbitrariness of pathos and ethos in the Cantonese melodramatic tradition, especially to point out how narrative logic turns open options into moral necessity, and how a particular form of morality is turned into absolute truth via plotting… - http://www.lindalai-floatingsite.com/content/video/data/published/doorgame/index.html

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