Taiwanese directors Peng Zihui and Wang Pinwen co-directed their first film “A Journey in Spring,” focusing on the regrets of family life and the things of beauty that are lost forever in life. The film, presented in Super 16mm film for a rough and authentic visual approach, was selected for the 53rd New Directors/New Films (ND/NF) in New York, marking the first time in six years that a Taiwanese director’s work has been recognized at this internationally renowned film festival.
“A Journey in Spring” starring Xi Xiang and Yang Guimei has received acclaim at various international film festivals. The story follows a husband who struggles with the sudden loss of his wife, choosing to keep her presence close as he embarks on a journey of confronting life’s regrets as winter transitions to spring. The film was screened at the Museum of Modern Art (MoMA) and the Film at Lincoln Center in New York on April 13 and 14 respectively. Directors Wang Pinwen and Peng Zihui attended post-screening discussions with the audience to delve into the behind-the-scenes of the film.
La Frances Hui, curator of the MoMA film department and co-chair of this year’s festival, described “A Journey in Spring” as a profound work about family, life, and death. An elderly couple living in the mountains near Taipei lead a peaceful life, constantly bickering yet exhibiting emotions beyond words through subtle gestures, as observed in their interactions. She likened the film to a meticulously crafted sculpture on Super 16mm film, rich in texture yet understated, composed of dialogue scenes and static frames that allow viewers to gradually immerse themselves in the inner worlds of the characters, reminiscent of the early filming techniques of director Hou Hsiao-hsien.
On April 15, the two directors conducted a joint interview with the media at the New Center in New York, discussing how the COVID-19 pandemic, sudden departures of loved ones, international terrorist attacks, and aging parents served as major inspirations for creating this film.
Peng Zihui expressed that the film aims to convey that many beautiful moments, relationships, or even life itself will not return, no matter how hard one tries to hold onto them. For example, the regret of the husband in the film for not expressing his feelings to his wife before her passing. In a society that values speed and efficiency, she believes that the past pleasures of going to the movies or living life slowly may gradually fade away, stating that “In such a fast world, sometimes what is actually lost is life itself.”
The entire film “A Journey in Spring” is in Taiwanese dialect, with the directors emphasizing that behind the language lies many people’s memories of family life, bearing an irreplaceable beauty.
Wang Pinwen shared that she decided early on to use Taiwanese dialect for the dialogues in the film while writing the script, drawing inspiration from observing interactions between elderly family members, where expressions of love might sound like scolding or disdain in Taiwanese dialect. She noted that she and Peng Zihui do not strictly adhere to the script during filming but discuss the core essence of each scene with the actors to present the film in a more authentic and lifelike manner.
For more information about the film showcased at the festival, you can visit the official introduction page at www.newdirectors.org/2024/films/a-journey-in-spring.