Ways Women Survive, Ways They Exist
For women, to live as full human beings in this world has never been easy.
In these stories, women are placed within multiple roles: daughters-in-law,
mothers, job seekers, and migrant brides within transnational contexts.
Between bodily experience, childbirth, and the question of staying or leaving,
they struggle between trauma recovery and life choices, while also being seen
and expected within structures of power. They are expected to embody
contradictory ideals: to be both desirable bodies and symbols of purity; to
conform to norms while pursuing ideals.
Within structures shaped by violence, sexual harassment, and entrenched
misogyny, they continue to resist within bodies that are constantly
constrained, seeking possibilities of freedom and rebirth. Their lives unfold like
flowers in bloom.
The Blood of a Hen and The River of White Porcelain may respond, through
image, to the complexity of these predicaments, and open up alternative ways
of seeing and understanding women’s experiences.
Curator
張吾青
臺灣動畫導演，英國皇家藝術學院動畫碩士，艾可創意公司創辦人。作品常探討女性議題，以奠基於訪談的敘事見長。《我的阿婆是一顆蛋》獲亞特蘭大國際影展評審團特別提及獎，並入圍加拿大Hot Docs國際紀錄片影展、阿斯本短片影展、薩格勒布國際動畫影展與 SIGGRAPH Asia，《一百年後的我，你好嗎？》入圍英國倫敦影展。Taiwanese animation director with an MA in Animation from the Royal College of Art, and founder of Aco Creative Ltd. Her flims often explore women’s experiences, with a strong focus on interview-based narrative storytelling. My Grandmother Is an Egg received a Special Mention from the Jury at the Atlanta International Film Festival and was selected for Hot Docs Canadian International Documentary Festival, Aspen Shortsfest, World Festival of Animated Film Zagreb, and SIGGRAPH Asia. Hello to Me in 100 Years was selected for the BFI London Film Festival.
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