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概要
An observational essay about images, representations and performances in China's contemporary spectacles, shot mostly in Chongqing during the peak of Bo Xilai's red campaign in 2010 and 2011, which later ended as China's biggest political scandal after 1989. Concealed beneath the veneer of capitalism, aspects of communist totalitarianism persist today, both in economy and ideology.

自述
The past two decades for China since 1989, has been a time of economic boom and social de-politicization. Drive for profit and progress seems to have been dominating social life. However, it is also crucial to be aware that the extensive capitalization is hybridized to retained aspects of communist totalitarianism. Not only on the economic level, in ideologies, influences from the Mao era never really faded away. They conceal themselves under a capitalist mask. The film takes a form of fictional letters about a man's encounters with all the images during his trip in China, narrated by a female voice with an untraceable accent. The focus of the film is images – images in a broader sense, as surfaces of the society. I believe the seemingly most mundane surfaces can possibly provide us a glimmer of re-looking at the basis of the duo-structure of China in the post-Tiananmen era.

入选电影节
2017 当代宣传影像, 车库当代艺术博物馆, 莫斯科
2016 DOKU.ARTS, 德国历史博物馆, 柏林
2016 雅加达国际纪录片与实验电影节, 雅加达
2014 温哥华纪录片电影节, 温哥华, 加拿大
2013 哥本哈根国际纪录片电影节, 哥本哈根, 丹麦
2013 芬格湖环境电影节, 伊萨卡, 纽约州, 美国
2013 纪录双周, 现代艺术博物馆, 纽约, 美国
2012 中国独立影像展, 南京, 中国
2012 北京独立影像展, 宋庄, 北京, 中国

发行
 
【中国协奏曲】目前由Icarus Films在北美发行, 属于Icarus Films下dGenerate Films系列. 购买请点击:
http://icarusfilms.com/dgenerate/chc.html