Innocent Flesh
无辜的肉
LIN Yihan
23 minutes | 2025 | Fiction | Mandarin, Hokkien | English and Chinese Subtitles
World Premiere
Content Advisory: This film contains scenes of coarse language, violence
7:15 PM, SAT, AUG 9
Innis Town Hall
Screening + Live Zoom Q&A
The pregnant Ran and her girlfriend Wen return to a coastal village in Fujian. Her body changes, attuning itself to the rhythms of the sea, the land, and mythic memory. Then, her ex-husband returns unannounced.
Innocent Flesh marks director LIN Yihan’s third entry in the Fountainhead. We screened her short films Yesterday I Was the Moon in 2022 and Sojourn to Shangri-La last year. Across these three works, Lin continues to push the boundaries of visual storytelling—capturing the psychological states of her characters within physical space with striking precision, and integrating metaphor, mysticism, and abstraction with increasing artistic fluency.
Image is an intuitive, enduring vessel for memory that often lingers in the mind before plot, sparking perception and resonance. Innocent Flesh follows a pregnant woman returning with her female partner to a coastal village in Fujian. Dream and reality entwine in an atmosphere thick with mood and emotion. The film is a quietly textured visual experiment achieved on a modest budget—a testament to the director’s control and craft.
Innocent Flesh is also a proof of concept short to Lin’s feature-in-development of the same name, which was selected for our Debut Narrative Feature Development Lab last year. We wish the director all the best as she prepares for the next stage of production.
– SHEN Wei
Director

LIN Yihan is a filmmaker and artist based in Shanghai. She investigates subtle and inexplicable relationships between individuals in the contemporary context, with a particular focus on subjects that are in an insecure, nomadic, and transient state. Her works have been selected for Berlinale, Locarno Film Festival, Slamdance Film Festival, Grilla 3 Lima Alterna Festival, etc. Innocent Flesh is also her feature project in development, which was selected for the Debut Narrative Feature Development Lab at MulanIFF and won an award at Hong Kong – Asia Film Financing Forum (HAF).
Credits
- Director: LIN Yihan
- Principal Cast: XU Oubu, MIAO Jijun, BAI Du
- Producer: LI Yuwen, Hattie YU, Robert GUO Qiancheng
- Screenplay: LIN Yihan
- Cinematographer: Luc WU Yikai
- Production Designer: MEI Xinyi
- Editor: LIN Yihan
- Sound: Sophia SHEN Siyang
Anatomy of a Call
通讯默示录
Arnold TAM Jing Wah
17 minutes | 2024 | Fiction | Cantonese, Mandarin, English | English and Chinese Subtitles
North American Premiere
Content Advisory: This film contains scenes of coarse language, tobacco use
7:15 PM, SAT, AUG 9
Innis Town Hall
Screening + Live Zoom Q&A
A frazzled producer, a desperate telemarketer, a lonely and forgetful mother, and phones that won’t stop ringing –– three long takes tracing Hong Kong’s daily grind.
Director Arnold TAM Jing Wah incisively deconstructs modern life in his work Anatomy of a Call: from a producer exhausted by demanding clients, to a sales person repeatedly facing rejection, to an aging mother seeking help from her son—all seem trapped in an endless cycle of useless calls without any resolution.
The short film, laced with dark humor, sharply captures individuals confined within the concrete jungle represented by Hong Kong, linking multiple parallel spaces through the medium of the phone. The three long takes interlock seamlessly, adopting an observer’s perspective to crisply unravel the frenzy, anxiety, and absurdity saturating the air of modern society. The film lays bare how information overload limits the space for existence, and the loneliness and struggles of ordinary people will eventually become the footnotes of this era.
– ZHANG Xuliang
Director

Arnold TAM Jing Wah becomes a filmmaker after graduating in accounting at HKU. He likes to challenge conventional form of storytelling. His works are selected at International Film Festival Rotterdam, American Film Institute Festival, Beijing International Short Film Festival, Hong Kong Asian Film Festival and more. He is also an alumni of Asian Film Awards Academy IFC. He is now Hong Kong based.
Credits
- Director: Arnold TAM Jing Wah
- Principal Cast: Aaron CHOW, Kenneth CHEUNG, Patra AU Ga Man
- Producer: Arnold TAM Jing Wah, Kasi CHENG Kai Lai
- Screenplay: Arnold TAM Jing Wah
- Cinematographer: Sam CHAN
- Production Designer: Bithiah LUI
- Costume Designer: Loba LAI
- Editor: Arnold TAM Jing Wah
- Sound: Stan CHAN
Sudden Rain
春来发几枝
WANG Yu, Jaro MINNE
29 minutes | 2024 | Fiction | Mandarin | English Subtitles
North American Premiere
7:15 PM, SAT, AUG 9
Innis Town Hall
Screening + Live Zoom Q&A
Springtime, in a high-rise apartment overlooking Marseille, two young women far from home connect through interviews and open up about their lives.
Sudden Rain, co-directed by WANG Yu and Jaro MINNE, offers us a glimpse into another possibility of cinema. An interview brings two Chinese women together in a foreign land in France, under the same roof, where their brief encounter quietly begins. As the conversation unfolds, the roles of interviewer and interviewee begin to shift, to blur. The window and the balcony further dissolve the boundary between the characters and the foreign city beyond—until, with the purple light of dusk, the indoors and outdoors melt softly into one.
Most of the film takes place within the apartment, continuing the spatial intimacy seen in Wang’s earlier work Under One Roof, and already forming a distinctive directorial style. The dialogue and scenes are steeped in everyday texture, grounded in a high-rise apartment in Marseille. The story carries a Rohmer-like lightness, while gently touching on the quiet struggles and emotional knots of those living far from home.
And this dreamlike encounter quietly fades as the film draws to a close. As the two women return to their own lives, how much of it will remain? The directors offer no clear answer—only a lingering, delicate aftertaste. And perhaps that, too, is where the gentle beauty of Sudden Rain lies.
– YANG Linsi
Director


WANG Yu (b. 1996) is a Chinese filmmaker. Following her previous film studies in Beijing and Taipei, she currently develops personal work between France and China. Jaro MINNE (b. 1992) is a Belgian filmmaker who frequently works on the East-West crossover. Various festivals have screened their work, including Visions du Réel, Rencontres Internationales Paris/Berlin, Film Fest Gent, EMAF, Yamagata IDFF and Oberhausen ISFF.
Credits
- Director: WANG Yu, Jaro MINNE
- Principal Cast: WANG Lei, QIU Yu
- Producer: Jaro MINNE, Charlotte LELONG
- Screenplay: WANG Yu, Jaro MINNE
- Cinematographer: WANG Yu, Jaro MINNE
- Editor: WANG Yu
- Sound: Ingrid Simon
Lagoon
澙湖
QIU Runfeng
11 minutes | 2025 | Animation | No Dialogue | No Subtitles
World Premiere
Content Advisory: This film contains scenes of lighting that may affect photosensitive viewers
7:15 PM, SAT, AUG 9
Innis Town Hall
Screening + Live Zoom Q&A
A virus looms, the dead sun sinking, with endless tides, and no one is whole.
QIU Runfeng’s animated short Lagoon captures the collective emotions during the pandemic lockdowns through a fable-like visual language. The lagoon—a semi-isolated zone between land and sea—becomes a symbol for the confusion and helplessness of that time. What stands out most is the film’s use of colour: the burning orange-red palette evokes Norwegian painter Edvard Munch’s The Scream, intensifying a sense of oppression; while the deep, layered blues recall the melancholic weight found in Chinese Canadian painter Matthew Wong’s blue-toned works. With thorn-like branches spreading across the screen and ghost towns emptied of life, Qiu drifts between reality and the surreal, using images to tap into a collective subconscious shaped by isolation. The result is an unsettling, unspoken pain that lingers. It is a pain shared by all: even if you resist revisiting it, life finds its own way to make you remember.
– SHEN Wei
Director

QIU Runfeng is an animator and filmmaker. Often inspired by the psychological effects of information overflow and semantic satiation, his work explores the displacement of history, imagination, and perception.
Credits
- Director: QIU Runfeng
- Producer: QIU Runfeng
- Editor: QIU Runfeng
- Music: TRT, Neo GAO Jiapu, Jack English
The Memo
备忘录
Badlands Film Group
30 minutes | 2023 | Documentary | Mandarin, Guilin Dialect | English and Chinese Subtitles
Canadian Premiere
The 60th Taipei Golden Horse Film Festival –– Best Documentary Short Film
Content Advisory: This film contains scenes of coarse language, violence, and may be triggering for the politically traumatized
7:15 PM, SAT, AUG 9
Innis Town Hall
Screening + Live Zoom Q&A
The filmmakers used every medium possible to document the 2022 Shanghai lockdown—the “Come and See” moments, where the screams of ordinary people, the humiliation, the crushing, the trampling, and the forced forgetting are laid bare. True history is never far.
The Memo is a documentary short made by Badlands Film Group, which was founded by YANG Xiao and CHEN Sisi. The film focuses on Shanghai’s citywide lockdown in the spring of 2022, when 24 million residents were placed under mandatory quarantine under the government’s strict “zero-COVID” policy. Filmed from within a tightly controlled community, the directors use everyday media—mobile phones, television, and online footage—to construct a portrait of absurdity that is at once surreal and deeply personal. Beyond documenting grassroots resistance to the chaos and psychological strain of the lockdown, the film also explores how individuals confront and mock the abuse of authority, through an experimental deconstruction and reassembly of official rhetoric. More than a visual testimony, The Memo poses a powerful question: who has the right to preserve memory? In an era when information is erased and history constantly rewritten, the film reminds us that some memories can only be carried forward through images.
– Louis ZHOU
Director

Badlands Film Group was founded by YANG Xiao and CHEN Sisi as a doc duo. Their works focus on the activities and memories of marginalized communities, striving to explore the aesthetics of resistance behind them. For example, The Memo documents the video activism of migrant labourers during the Shanghai lockdown period, while The Mountain Sings focuses on the tradition of improvised singing by Zhuang people in the midst of ecological changes.
Credits
- Director: Badlands Film Group
- Producer: Badlands Film Group
- Cinematographer: Badlands Film Group
- Editor: Badlands Film Group
- Sound: Bobo LIU
- Music: The Shanghai Restoration Project