The film depicts a continuous space in which the spatial structure is also the narrative structure of the film. Here, the audience can simultaneously and ‘directly’ see the microscopic events and its higher structures. The characters have no words, no expressions, only actions. When they meet each other, they sometimes fight and sometimes spend time together. The damages on characters’ bodies will not be fully recovered, and the events will congeal and merge outside the life cycle of each individual. Those characters with asymmetry of information carry on their lives without thinking about what they are most accustomed to, such as their body, their medical props. Some of them trying to find their ‘point’ with only a slight chance to get in. When a character finally passes a point, standing in front of an above-event-structure, the character would make mortal choices like normal people.
Chen Xi was born in Wuhan (1985), graduated from Jiangnan University (BA) in 2008, then graduated from ECNU (MA) in 2012. He currently works and lives in Beijing.
In terms of style, this film seems like the ‘who’ playing a game for the audience, an easily accessible but heavy game. The first item a character met was just ‘light’ and later ‘the entire world’ was a prop. At the beginning of the film, it was almost flat color, and it turned into a photorealism near the end of the film. Through these visual arrangements, the film wants its viewers to realize that this is a story with increasing content, and even near the end, an audience can find new and surprising information. Some of the characters in the film produce events, some of the characters walk on the events of other characters. A few characters almost climb the above-event-structure together with the audience. The narrative structure of the film is the spatial structure walked by the characters and the audiences can see it directly.
Sleepwalking Through The Walk Simulatorsis my first narrative feature. It was written, directed, produced and made all by myself.