Definition is the worst proof of imagination.
So, let's imagine.





A single-child girl born in a traditional Beijing family, was raised like a boy due to an accidental fortune-telling of a venerable old monk. She thus spent her childhood with short hair, Kung Fu training and mathematics. Together with a strong personality, adventurous mind, and a belief that she is no different than a boy, the girl ventures big and far. So, let us imagine.


After forming a collective as a standup comedian and independent theatre actress, she got an unexpected offer of the drama department in the University of Manchester as the only non-British student. This became the start of a 10-year nomad journey away from home. Two years later, she began traveling for two years in Brazil, Colombia, and Mexico as a freelance filmmaker, but ended up in Manila after meeting a wave of upcoming Filipino artists and musicians. There, she joined the crew of feature documentary, The Landscape within, as writer and editor. The film premiered in Singapore International Film Festival and started her relationship with documentary filmmaking. Living between Beijing and abroad, she quickly found herself in Sino-foreign co-production projects and completed two feature scripts. At the same time, as an accidental fashion personal, she freelanced for Fashion TV and Vogue Film as director and producer. Last year, she moved to Europe to complete her master degree in Documentary Directing with DocNomads, a joint master between three universities in Portugal, Hungary and Belgium. She has thus completed 7 short documentaries as director and writer. Since then, her individual works have been screened in various festivals in the UK, Italy, Romania, Germany, Singapore and Bangladesh. Apart from filmmaking, she enjoys exploring different disciplines and is actively involved in writing, performance art, painting, music events and martial arts.


With an obvious inclination to travel and experience, she is always interested in exploring cultural boundaries and identities. Throughout the 10 years of living abroad, she witnessed the change of China economically, socially and politically in a foreign angle. This gives her a particular voice in her identity as an artist and unique Chinese traces in her works. She often focuses on the sensibility and tangibility of moments, relationships, sexuality and self-awareness. She firmly believes in true emotions and frameworks of sincere responses as a filmmaker. Thus, the process of making a documentary is extremely crucial for her. As a writer, she aspires to merge the boundaries between documentary and fiction, and uses her words to express further. Currently working on her graduation film and a feature script, she hopes to venture further in the field of filmmaking.


In an intriguing encounter with Chinese director Jiang Wen, she asked for his advice of making good films. The director answered: “Don’t ask me and don’t listen to anyone. If you are a filmmaker, then believe what’s in your mind, and simply bring it out onto the screen.” Probably a superstitious act, but she firmly believes in destiny. If life is already written, there is no risk experimenting further. If making films is in her story, there should be no fear of failing.