「我是一个女人」：导演韩帅访谈

“I Myself am a Woman”: A Conversation with Han Shuai

作者：Maja Korbecka

译者：覃天

校对：易二三

来源：Sensesof Cinema（2021年7月）

【本文首发于《虹膜》公众号】

Writer-director Han Shuai’sSummer Blur, the winner of the Grand Prix for Best Film in the Kplus competition at the 2021 Berlinale, is a mesmerising take on film noir. Its codes and conventions are used to explore the feeling of the quiet terror a young girl feels while being faced with her own identity as a woman in the society. She enters the realm of romantic attraction and emotional entanglements with dread and uncertainty, during a summer spent at her aunt’s place devoid of her mother’s comforting presence and attention. The feeling of isolation and entrapment only intensifies as an unfortunate accident leads to a play of manipulation and sabotage. Deeply sunken in the hot and humid summer air in Wuhan, the spiral of psychological games begins.

导演兼编剧韩帅执导的电影《汉南夏日》获得了2021年柏林电影节新生代儿童单元的最佳影片奖。这部电影是对黑色电影传统的迷人呈现。通过一个女孩的视角，影片讲述了她作为女性在社会身份认同中所经历的可惧感，并探索了黑色电影中的惯常表达。这个名为杨果的女孩寄居在姨妈家，由于目睹了一场意外，她陷入了困境。而且因为缺少母亲的陪伴和关注，在这样的环境里，杨果的孤立感更强了。种种感受被揉进了武汉炎热、潮湿的夏日中，一场不断升级的心理游戏就此展开。

Relistening to Han Shuai’s answers while transcribing the interview made me recall the late 1920s Chinese writer Ding Ling saying: “I myself am a woman”. The straightforward refusal to explain or justify one’s own existence is the attitude that the filmmaker undoubtably shares. I spoke with Han Shuai on Wechat in early March just after the Berlinale. The space of our home offices, hers in Beijing, mine in Taipei, turned out to be linked regardless of the geographical distance. When Han Shuai took out her recently published monograph on Lou Ye from the bookshelf behind her, I smiled and turned my head to the poster ofSuzhou Riverhanging above my bed. Cinephilia connects people in many mysterious ways.

当我整理和韩帅的访谈录音时，我想起了作家丁玲的那句话：「我是一个女人。」韩帅的回答也是如此直截了当，拒绝为自己的身份作出解释或证明。3月初，就在柏林电影节刚刚落幕不久，我和韩帅进行了一次线上访谈。我在台北，她在北京。但我们就像面对面一样。当韩帅从身后的书架上拿出她写的那本关于娄烨电影的书时，我笑了，转头看了看自己床头《苏州河》的海报。显而易见，我们俩都是他的影迷。

Summer Bluris your debut film, it feels very much in dialogue with film history and genre conventions. I was wondering how you got interested in cinema and filmmaking?

When I was a teenager in the 2000s Hong Kong films were very popular in the Mainland. There were a lot of VCD shops, which rented older and newer titles. Johnnie To’s films left a big impression on me, but I didn’t fully understand them at that time. When I was about to go to university, I started reading film magazines such asMovie View《看电影》. Like many other students, I would buy older issues of film magazines because they were cheaper. The articles and reviews were really well written, and they fed my growing cinephilia. I originally studied chemistry but later, because of my increasing interest in film, I decided to apply to the Central Academy of Drama. I have been studying in this college for 10 years straight and didn’t engage in filmmaking full time until I graduated with a PhD in 2018. Cinema might have been a hobby at the beginning. It took me a lot more study time than other directors to feel I was ready to start making my own films.

问：《汉南夏日》是你拍的第一部长片，它不仅带有过去的元素，同时也对类型片的惯例作出了独特的表达。我很好奇的是，你是怎么迷上电影，并且决定拍电影的？

韩帅：2000年那会儿，我还处于青春期，香港电影在内地很受欢迎。当时还有很多租VCD的碟店，里面有各种各样的电影。杜琪峰的电影给我留下了深刻的印象，即便我当时并不能完全理解它们。快要上大学的时候，我开始看像《看电影》这样的杂志。和我的同学一样，我会买报刊亭里自己喜欢的杂志，但我们会买过期的那几本，因为它们会比最新的一期要便宜一点。《看电影》里面的专题文章和影评写的很好，可以说是我电影知识的启蒙读物，并且满足了我对电影的痴迷。我原来学的是化学，但后来因为对电影越来越感兴趣，我决定报考中央戏剧学院，我在那里度过了10年的时光。我在2018年博士毕业之后，决定投身电影行业。一开始，看电影可能只是一种爱好。可能和其他导演相比，我在学校里花了更多的时间，以至于入行时间比较晚。

《汉南夏日》

As a current PhD student, I am dying to ask what was the topic of your thesis?

In my doctoral dissertation I discussed films directed by Lou Ye. No one in the Mainland has written about his works extensively yet, so the book based on the thesis was just published last year. I also interviewed director Lou Ye, he is very nice.

问：我现在也在读博，我很想问一个可能很多人都问过你的问题，你博士论文写的是什么?

韩帅：我写的是娄烨的电影，之前大陆还没有系统性、完整性的对娄烨电影的研究。去年，基于我这篇博士论文的书《新感觉电影：娄烨电影的美学风格与形式特征》出版了。在写作的过程中，我去采访了娄烨导演，他人真的很好。

That is a coincidence! I wrote about Lou Ye in my BA thesis, I love his early films. InSummer Blurthere is also this very strong sense of fear and uncertainty about the nature of relationships between people, especially on the basis of gender, a bit like in Lou Ye’s works. What were your inspirations while preparing the film?

Originally the protagonist of this script was Zhao You, the male classmate of Yang Guo, a girl in her early teens who eventually became the main character inSummer Blur. The concept first appeared when I was writing a composition plot as an assignment for drama class back in college. The idea came back to me when I decided to start working on my first feature, but I realised that as the time passed, I was more interested in the mentality of girls. The point of departure was that insecurity is a shared feeling that women often encounter during the whole process of growing up. Sometimes women in romantic relationships with men feel a little controlled and not completely free. In the film the remote-controlled airplane is a sign of this unhealthy dynamic. What was very clear from the start was that what I wanted to do was a woman’s film, not a children’s movie. I chose the city of Wuhan because it is often referred to as Jiangcheng in Chinese: a city of rivers. The point of departure inSummer Bluris a drowning accident, which is quite common there every year. Another reason for choosing the city is that when I was young, I read a lot of novels by writers from Wuhan. The female characters they depicted in their fiction were very strong. This image influenced my impression of Wuhan women. Even if I wrote about a girl, I wanted her to have that very inner power. These few points are some of the origins of theSummer Blurscript.

问：太巧了，我本科的论文写的也是娄烨。我喜欢他最早拍的那些电影。在《汉南夏日》中，人与人之间关系也带有一种非常强烈的恐惧感和不确定性，而这一点是通过对性别问题的讨论展现出来的，这有点像娄烨电影的风格。你是怎么想到这个故事的？

韩帅：其实这部电影最初的主人公是那个追求杨果的男同学赵有。这个故事来源于我大学里为剧作课写的故事情节，当我开始着手准备自己的第一部长片时，我想起了自己写下的这个故事情节。然而随着时间的推移，我意识到自己对杨果的内心世界越来越感兴趣。我之所以选择以杨果的视点来讲述这个故事，是因为在女性成长的过程中，不安全感是她们经常遇到的、共有的感觉。即便是在恋爱中的女性，常常也受制于男性，并不完全自由。在《汉南夏日》中，那架遥控飞机就代表了这种不安全感。我从一开始就想拍一部女性电影，而不是儿童片。之所以选择在武汉拍，是因为它被称做江城，汉江贯穿整座城市。《汉南夏日》的故事始于一场溺水，这样的事故在武汉每年都会发生。而选择在这里取景的另一个原因是，我年轻时读了很多武汉作家的小说，他们小说中的女性都非常坚强，这影响了我对武汉女性的看法。即便我写的只是一个小女孩，我也想让她拥有那种坚韧的内心力量。这大概就是《汉南夏日》的由来。

The relationship between the heroine Yang Guo and her mother and aunt is very interesting. The two of them can’t give this girl a sense of security, they even repel her. Why did you choose the same actress to play these two roles?

They are sisters and when I was writing the script, I placed them opposite each other as two very different women, a bit like two sides of a coin. The aunt has more features traditionally considered masculine: she is the main breadwinner in the family and seems to be a lot stronger than her husband, who spends most of his time lying in bed. In the script, Yang Guo’s mother is marked with stereotypically feminine characteristics: she has long hair, pays attention to appearance, she lives off men. So, I think the sisters symbolise two extremes. I felt if the same person acted in both roles – the mother who is dear and missed but far away and the mother who is in physical proximity but emotionally rough and indifferent – it would highlight Yang Guo’s feelings and state of mind. Yang Guo observes the two women and tries to become herself, explore and define her own identity as a woman. What kind of person she will become remains a question mark. She can become very rough and set herself against all men, she can also learn to follow gender stereotypes about femininity and strategically use the position of weakness in patriarchal society to achieve her goals. In fact in the film, she has learned methods such as pretending to be hurt to get what she wants. It is a very indirect and soft way of exerting pressure and exercising one’s agency. Yang Guo is searching for what kind of woman she wants to be, and her biological mother and aunt are the main points of reference, models she can imitate. But in the end, the most important mother figure turns out to be the mother of her deceased friend. When she hugged Yang Guo, I think the girl realised that deciding what kind of woman to be isn’t the crux of the matter. The ability to love is the most important.

问：女主角杨果和她的母亲、姨妈的关系非常有趣。她们都不能给这个女孩带来安全感，甚至让她反感。你为什么选择同一个女演员（龚蓓苾）来扮演这两个角色？

韩帅：她们是姐妹，当我写剧本的时候，我把她们设置成两个截然不同的女性，有点像硬币的两面。姨妈身上有更多传统女性的特征：她在家里承担着养家糊口的责任，并且似乎比她的丈夫要强大得多，因为她的丈夫大部分时间都躺在床上。在剧本中，杨果的母亲是那种符合刻板印象的女性：她留着长发，注重外表，依靠男性生活。所以，我认为这对姐妹象征着两个极端。我觉得，如果一个人同时扮演两个角色——一个是杨果思念的，但相距甚远的母亲，另一个则是和自己离得很近，但在情感上粗暴、疏离的「母亲」——这会突出杨果的感受和心态。在两个女人的影响下，杨果试图成为自己，探索和定义自己作为一名女性的身份。对处于青春期的女孩来说，她会变成什么样的人还是个问号。她可以变得非常粗暴，与所有男性对抗，她也可以成为那种符合刻板印象的，传统的女性，利用男权社会中的弱势地位来实现她的目标。事实上，在影片中，她已经学会了假装受伤得到自己想要的东西。这是一种非常间接、温和的释放压力的方式，并且锻炼着她的能力。在成长的过程中，杨果正寻找着自己应该成为一个什么样的女人，母亲和姨妈是她身边最熟悉的两个女性，她似乎可以活成她们那样。但最后她发现，自己的母亲竟然是她死去的朋友的母亲。当赵有拥抱杨果时，我想杨果也能意识到，决定成为何种女性并不是问题的症结所在，拥有爱的能力才是最重要的。

We are accustomed to using binary structures to understand the world, which seems to be an automated response of our cognition. It is difficult to break away from this habit because it is so instinctive.

I kept thinking that when evaluating women, there is always an adjective attached such as: “I’m a girl, so I have to do better than boys” or “I’m a girl, so I’m fragile and beautiful.” I think all these are definitions forced upon us. In fact, you only need to say: “I am a woman.” Period. No need to explain yourself and your existence.

问：我们已经习惯用黑白分明、性别对立的角度来看待这个世界，并且似乎很难改掉这个习惯，因为我们会下意识地这么思考问题。

韩帅：我一直在觉得，当我们在评价女性时，总会附加一个形容词，比如：「我是女孩，所以我必须比男孩做得更好。」或者「我是女孩，所以我既美丽，又很脆弱。」我认为这些都是强加给女性的定义。事实上，你只需要说：「我是一个女人。」句号。没有必要对你自己和你的存在做更多的解释。

I feel that the role of Yang Guo is a big challenge because the camera follows her very closely, often focusing on her face and emotional expression. It is Huang Tian’s debut as an actress, how did she prepare to play this role? How did you two meet?

We had selected about 2,000 children in the school for the casting audition. My executive producer spotted Yang Guo while she was sitting in class and sent me a video of her. We felt she was different from other kids and the closest fit to Yang Guo’s character because she seemed a bit like a small animal. There was a sense of recklessness, brunt and strong vitality about her. We chose her among all the selected candidates and at the time I thought she was perfect for the role. But the problem was that originally she had been training to be a dancer. She had very long hair, her movements – even so basic like sitting and standing – were very much like that of a lady which didn’t fit Yang Guo’s character at all, so I hoped that she could alter some basic habits. Huang Tian prepared for three weeks for the role and throughout this time she lived with the core of the film crew. Yang Guo is quite independent and self-sufficient, so Huang Tian had to learn to tidy up and do things around the house she didn’t need to do at her parents’ place. Then she had to try to be a bit boyish, more neutral and not so ladylike in her daily habits. We cut her hair shorter to shoulder length. Then one of the assistant directors asked her to write a diary while assuming Yang Guo’s identity to make her slowly become that girl. Huang Tian had no acting experience before the shoot and I think at times she is a bit stiff and unnatural in front of the camera. What I usually did in the most intense scenes was to experience the emotions with her, I would scream if she was to scream or if she had to cry, I would cry with her. In fact, it is a very primitive method, but it helped her to believe in the moment and grasp the feeling. As an actress, she can handle extreme scenes and emotions very well but when she has to be calm and subtle, she needs a lot of time to get into the mood because she gets overly uptight. So, in the end we also modified a lot in the editing room to try to choose her best performances. My shooting method is relatively free, and I shot a lot of footage, so we were able to pick the best pieces from the recorded material.

问：找到一个合适的演员来出演杨果是一个很大的挑战，因为镜头常常会拍下她的表情，这需要演员丰沛的内心情感。《汉南夏日》是演员黄天的银幕首秀，她为这个角色都做了哪些准备？你是怎么选中她的？

韩帅：我们在学校里挑选了大约2000名孩子参加选角的试镜。我的执行制片人在杨果上课时发现了她，并给我发了一段她的视频。我们觉得她和其他孩子都不一样，最接近杨果这个角色，因为她看起来有点像一个小动物。她身上有一种鲁莽、直率和强烈的生命力。最终，我们在所有候选人中选择了她。但问题是，她从小就练舞蹈，留着很长的头发，她的动作——即使是坐着和站着这样基本的动作也有自己的特点——这并不完全不符合杨果性格，所以我希望她能改变一些基本的习惯。黄天为这个角色准备了三个星期，在这段时间里，她一直和摄制组的核心成员们住在一起。首先，杨果是一个自立的女孩，所以黄天要学会自己收拾房间，而改去和父母一起生活时的习惯。另外，她还得变得有点男孩儿气，更中性，在日常习惯上不那么淑女。我们把她的头发剪短到齐肩长。在筹备过程中，一位助理导演让她写日记，同时假扮杨果的身份，让她慢慢变成那个女孩。黄天在拍这部电影前没有表演经验，我觉得她有时在镜头前有点僵硬、不自然。在最激烈的场景中，我通常会和她一起经历杨果的情感，如果她要哭和尖叫，我也会和她一起哭，一起尖叫。这可能是一种非常原始的方法，但这可以帮助黄天在那一刻相信自己就是杨果，并且帮她找到感觉。作为一名演员，她可以很好地处理极端的场景和情绪，但当她必须冷静下来或是敏感多情的时候，她则需要很多时间来进入情绪，因为她太紧张了。所以最后我们也在剪辑室里做了很多修改，试图选出她最好的表演段落。我的拍摄方法相对自由，我拍摄了很多镜头，所以我们总能从中挑出最好的那一条。

It seems that during the filming process Huang Tian had to majorly reprogram herself to fit the character. Programming of the cinematic world starts from acting all the way to sets and costumes. When watchingSummer Blur,I thought that the world presented in the film was not contemporary. If I hadn’t seen the iPhone, I would have assumed that the story is set in the ‘90s. Maybe my impression is wrong, but if there is a bit of truth, I am curious why you chose to design the cinematic world in such a way?

The look of the film resembles the ‘90s not just because of the costumes and props. Another reason is that the environment in which the film is set is out of time. The shooting location we chose belongs to the area in Wuhan which is quite detached from the rest of the city. It is a district dominated by the steel plant. Almost every small community over there survives from its infrastructure, people live mostly in the dormitories of the steel company and work at the plant. This is a very special place in Wuhan, an area forgotten by modernisation and a trip back to the heavy industrial past. Its development is far behind other districts in Wuhan. The dorm where Yang Guo lives with her aunt, uncle and niece is cramped and dilapidated. When the factory announces a massive layoff, we see the eclipse of this world.1What we see now in Wuhan is an image of a representative provincial capital, so this remnant of the past made a big impression on me. With regard to costumes, we wanted Yang Guo to dress very carefree and casual because she doesn’t have a mother by her side who would suggest to her how to dress up. We went to the very popular night market in Wuhan, where there are many stalls selling clothes. We were searching for a popular local aesthetic and what is in fashion nowadays in Wuhan turned out to be a lot like ‘90s style. I especially liked the black-collared polo shirt that Yang Guo eventually wore in the first segment of the film, because it is unisex. Then we thought that Huang Tian’s hair must be shoulder-length because when I chose her for the role, I thought she looked very similar to Charlotte Gainsbourg when she was in her early teens playing the main role inAn Impudent Girl(L’Effrontée, Claude Miller, 1985). I suppose it is the shape of their lips that made me think they look alike. I used the look of Gainsbourg from that film as a point of reference for creating Yang Guo’s image.

问：看来，在拍摄过程中，黄天不改变了不少，以适应这个角色。演员的表演、选景和服装都帮助《汉南夏日》建立起了自身的影像感。在看电影的过程中，如果我没有看到iPhone，我会以为故事发生在90年代。也许我的印象是错的，我很好奇你为什么选择以这种方式设计这部电影的风格？

韩帅：这部电影很有90年代的风格，不仅仅是因为服装和道具。另一个原因是电影取景地的环境很有年代感。我们在武汉的取景地和市里的其他区域很不一样，是一个到处都是钢铁厂的地方。住在那些小区的人们都依靠着钢铁厂的工作生活，人们大多住在钢铁厂的宿舍里，在工厂工作。这是一个被现代化遗忘的地区，一个让人可以看到重工业历史的地方。它的发展远远落后于武汉其他地区。杨果和姨妈、舅舅、侄女住的宿舍狭小而破旧。当工厂宣布大规模裁员时，他们的世界顿时变得混沌无光。我们现在看到的武汉往往会带给人省会城市、九省通衢的印象，而这个区域却给我留下了截然不同的感受。关于服装，我们想让杨果穿得比较随意，因为她身边没有妈妈的陪伴，没有人会建议她该怎么打扮。我们去了武汉很受欢迎的夜市，那里有很多卖衣服的摊位。我们在寻找一种流行的、当地的审美，结果发现武汉现在流行的衣服和90年代的服装风格十分接近。我特别喜欢杨果在电影开始不久穿的那件黑领马球衫，因为它是中性的。我们还认为黄天的头发一定得齐肩，因为我当初选择她来演杨果时，我觉得她很像《不害臊的姑娘》（克洛德·米勒，1985）中的夏洛特·甘斯布。我觉得她们两个人的嘴唇很像，我主要参照那部电影里的夏洛特·甘斯布创作了杨果这个角色。

Comparing them now, they do look alike！Maybe it is a certain charisma they have in common. I recently watchedKung Fu Master(Agnès Varda, 1988) and in this film Charlotte Gainsbourg’s character also struggled with a difficult relationship with her mother. I am curious to know, besides Lou Ye, are there other filmmakers that you particularly admire?

I think the filmmaker that I feel is very close and dear to me must be Hou Hsiao-hsien, it was his films that brought me a sort of enlightenment with regard to cinema. I think a lot of Asian directors born in the 1980s and 1990s would say the same. The whole generation of filmmakers is influenced by him because he is someone we can relate to. Watching his movies, I feel the emotional link that is absolutely different from the one I can have with Western movies. Hou Hsiao-hsien is the filmmaker I respect and admire the most up until today. But I wouldn’t make a movie that is similar to his when it comes to topic and style. When I was in school, I researched Jean-Pierre Melville’s work which was the topic of my undergraduate degree thesis. In graduate school I studied Michael Haneke’s films, then I focused on Lou Ye during my PhD In the meantime, I also wrote about Claude Chabrol’s work. I think their films pay attention to suspense and tension. In other words, although Chabrol, Haneke and Melville’s aren’t the most classic noir films, they are actually deeply influenced by the genre and Alfred Hitchcock’s work. Because of my interest in film noir, I also introduced elements of suspense toSummer Blur, the tension between the image and the sound, the feeling of threat and mistrust in relations between people. The difference is it is noir set in a children’s world. I only now understand the reason why I chose a remote-controlled airplane that it is very similar to the motifs in Hitchcock’s classics likeThe Birdsor inNorth by Northwest. For women, the locus of horror is in the house a bit like for men fear is caused by the unknown wilderness outdoors. For women, the sense of fear may be a small detail at home or close by which will make you very uneasy. I think these motifs might have had an influence onSummer Blur.

问：她们看起来确实很像！也许是因为她们都有某种共同的魅力。我最近看了《千面珍宝金》（阿涅斯·瓦尔达，1988），其中夏洛特·甘斯布饰演的角色也在与母亲的艰难关系中挣扎。我很好奇，除了娄烨，还有其他你特别敬佩的电影导演吗？

韩帅：我对侯孝贤的电影有一种亲近感，它们让我爱上了电影。我想很多80后和90后的亚洲导演也会这么说。一代代的电影导演都会受到他的影响，因为那些电影能够唤起我们的感受和共鸣。我在他的作品中感受到了与西方电影截然不同的情感。可以说，侯孝贤是我到现在为止最敬重的电影导演。但在题材和风格上，我却不想拍一部和侯孝贤电影接近的影片。我在本科阶段的论文写的是梅尔维尔的电影，研究生写的是迈克尔·哈内克的电影，而博士论文写的是娄烨，同时还写了一些与克洛德·夏布洛尔有关的论文。我认为这些导演的影片都很注重给观众营造悬疑和紧张的感受。换句话说，尽管夏布洛尔、哈内克和梅尔维尔拍的不是最传统的那种黑色电影，但他们的作品都深受黑色电影和希区柯克作品风格的影响。由于我个人对黑色电影的喜爱，我在《汉南夏日》中也加入了悬疑的元素，画面和声音让人觉得紧张，各个角色身上也潜藏着威胁感和不信任感。但不一样的是，这是一部以青少年的世界为背景的黑色电影。直到现在我才明白我为什么选择遥控飞机，因为它与希区柯克经典作品中的主题非常相似，比如《群鸟》或《西北偏北》。对于女性来说，恐惧的中心源于家庭，而不是外部世界，而男性的恐惧来源于外部未知的世界。家里或生活中的一个小细节，也许就会女性感到不安，感到恐惧。我认为这些元素可能对《汉南夏日》产生了影响。

Seeing Yang Guo running from the toy airplane did make me think of Gregory Peck （《西北偏北》的主演是加里·格兰特，这里应该是采访者的口误）dodging the plane inNorth by Northwest.Summer Bluris still touring the film festival circuit. What are your plans for the future? Do you have any themes or topics that you want to explore through filmmaking?

I think the preparation and production ofSummer Blurtook a long time, so I haven’t completely escaped its influence yet. I have a feeling that I can’t be hasty. I don’t have a clear direction or an idea for my next film and I don’t want to feel that I have to shoot it right after the debut. I think the director’s second work is always the hardest and I must have something that I have to say through filmmaking. For example, if, as a woman, my life will change and I will acquire some new understanding, it will inspire me to write about it. I have a feeling that I will keep making films about women at different stages of life: teens, adults, middle-aged, and their different romantic relationships. People get to know themselves all throughout their lives. In the case of women, this process of acquiring self-awareness is very important, and it is something I might always be interested in.

问：逃避遥控飞机的杨果，确实让我想起了加里·格兰特在《西北偏北》里躲避飞机的情景。《汉南夏日》现在仍在各个电影节上放映，你未来有什么计划？你有没有什么要拍题材或者主题是你想通过电影来呈现的？

韩帅：《汉南夏日》的筹备和制作花了很长时间，所以我还没有完全走出这部电影的影响。我觉得我不能操之过急。我对我的下一部电影没有明确的方向或想法，我不想刚拍完了一部电影，马上就开始拍下一部。我认为导演的第二部作品总是最难的，我必须通过拍电影来表达一些我必须要说的东西。例如，作为一个女人，如果我的生活将发生变化，我将获得一些新的感受，它将促使我写下些什么。我想我会继续拍摄关于处于不同人生阶段的女性的电影：青年女性、成年女性以及处于中年的女性，以及她们在生活中不同的情感关系。人会在一生中不断地了解自己。对于女性来说，获得自我意识的过程是非常重要的，这可能是我一直感兴趣的事情。

I guess new directors will face a lot of unhealthy pressure when their debuts catch the attention of film critics, film programmers and cinephiles who will suddenly have a lot of expectations.

It may have something to do with gender, but I thinkSummer Blurdidn’t completely change my life and family situation. And I’m not that young, I didn’t make films when I was in my twenties, so I’m not so anxious. I hope I make a film for the sake of speaking, not speaking for the sake of making a film.

问：当一位新导演的长片首作引起影评人、电影制片人和影迷的注意时，他们会赋予这位导演更多的期待，你会有这种困扰吗？

韩帅：面对这个问题，我想男性导演和女性导演会有不同的感受。但我认为《汉南夏日》并没有完全改变我的生活和家庭状况。而且，我也没有那么年轻了，我二十多岁的时候都还没拍过电影，所以我没有那么焦虑。我希望我是为了表达而拍电影，而不是为了拍电影才去表达。

Endnotes

1. In 1994 China became a global leader in production of iron and steel, but since the 2000s and China’s accession to the WTO there has been a gradual shift towards light industry. Due to lowered international demand for steel in the mid-2010s,plants underwent large-scale closures and redundancies

原文链接：https://www.sensesofcinema.com/2021/interviews/i-myself-am-a-woman-a-conversation-with-han-shuai/