Cinemyths

I appreciate the plan that Ye Lou decides to formulate the collective memories belong to a set of generations, of which few are able to re-speak of The Pandemic in their rigorous acknowledgements today. I see those with wandering uneasiness, those of evicted suspension under the Urumqi Road, the vulnerable Wuhan, the 2020 Qing Ming ceremony, the desperate rationality within every domesticity…

However, I mean Ye Lou may also know well, that we, as the group of faded survivors, are becoming of being stringed along with his retrospections. We count on the image, whose master has once built too many urban myths, between contemporaries and ours forbidden, upon things underdevelopment with no enunciation, and which may appear to be our “last nature” during whose happening. While sensing the stitched material onscreen, I understand, with a little pity, that the fact of connections whereby the continuous “facts” onscreen are raised seems eternally gone. I mean at the time humans with great minds review the previous material, the logic of the history had already lost its translation, though there are only five years later.

“Things toward better, and we are healed.” That’s enough and that’s it.

—— 2024.04.04