Sojourn to Shangri-la tells the story of a fashion shoot on a beach that goes awry as an installation that was built as the backdrop for models disappears into the sea. A young assistant art director named Cal (Fu Yunfei) sets out to rescue it and get the shoot back on track. What starts out like a farce soon becomes a fantasy as Cal explores the shooting location and uses tools like a camera drone in her search only to find herself slowly slipping into a more magical world.
It is the latest short film from Lin Yihan, a Shanghai-based filmmaker who earned a master’s degree in film directing from Columbia College Chicago. You can read my review here but, in short, her work is a truly cinematic experience that uses a whole gamut of visual and aural techniques to draw out the mystery and beauty of the natural landscape of her setting and create a sense of the uncanny that she playfully uses to tease the audience with the ideas of transcendency and the supernatural. The result is a film with a simple narrative but a rich atmosphere and mood. I felt relaxed and even uplifted by Cal’s spiritual journey.
As Lin uses the full scope of cinema to tell her story, one gets the sense that seeing this on a big screen would be very, very intoxicating.
The film played as part of Short Film Programme C at the Osaka Asian Film Festival 2024 and I had the opportunity to ask Lin Yihan some questions about her creative background and drive and her approach to broaching the supernatural.
My thanks go out to her for her really thoughtful and fascinating answers for a film that left my mind buzzing with many questions!
This is the first film of yours that I have seen. With the setup and the well-sketched characters, this could have been a workplace comedy set at a fashion shoot but it became something more unique and transcendent as it broaches the supernatural. It was a really interesting creative choice that led to unexpected and exciting places.
What is your creative ethos?
While the story unfolds against the backdrop of a fashion shoot, my aim wasn’t solely to depict the behind-the-scenes of a commercial production. Instead, I sought to explore the experience of human activity, represented by commercial shoots, being unexpectedly interrupted by the uncontrollable forces of nature. Through this disruption, I wanted to delve into the shifting power dynamics between humanity and nature. In terms of narrative tone, I drew significant inspiration from ancient Chinese travelogues, where characters often stumble into mystical realms or encounter deities, blurring the lines between reality and fantasy.
How did this particular project come about?
When I graduated from film school in 2021, I worked in commercial production, spending long hours within the confines of a vast and often gloomy studio. Amidst this controlled environment, I found solace in moments of respite, where I could step outside and witness the breath-taking beauty of an unobstructed sunset in the suburban landscape. Yet, despite the profound impact these moments had on me, it seemed as though no one else in the studio shared my fascination. A deep sense of rupture emerged between two spaces.
It was during one of these solitary reflections that the seed of Sojourn to Shangri-La began to take root. The desire to capture and share the emotion and experience of these fleeting moments became my driving force. It wasn’t merely about documenting a sunset; it was about encapsulating the sensation of awe and tranquility brought by the nature during a human activity driven by capital.
The catalyst for the film’s narrative came from an unexpected source – a serendipitous encounter by a friend, Meimei, who later became the production designer for Sojourn to Shangri-La. She recounted an event where a massive installation was swept away by the tide during a commercial film set, where she worked as an art assistant.
Intrigued by the subtle conflicts inherent in this event and inspired by the emotional resonance it evoked within me, I knew I had found the perfect framework for Sojourn to Shangri-La. Drawn from this true experience and my own emotions, I crafted a narrative that weaved together the themes of transience, beauty, and the human experience, all against the backdrop of this unexpected event.
I have read that, on top of you having experience as a filmmaker creating shorts, you have also worked in the commercials industry. How much of that experience fed into this film and feeds into your film-making method?
Of course my experience working in the commercial production industry directly inspired this short film. However, on another level, the challenges I faced during my time in commercial production pushed me to transform those unpleasant experiences into my own creative expression. This process was essential for me to reconcile with that period of my life.
There is a strong visual language to this film where you can segue from a “normal” reality to something more transcendent and strange with clever use of situational props and camera angles and raw landscape. The scenes that stick out are one where Cal stands on the beach with her back to the waves and the blazing lights bathing her with an ethereal glow while the radio chatter mixes with the sound of crashing waves. Then there are the “POV” shot from the perspective of creatures and the use of black and white. There are so many aspects and they remind me of the sublime aspect of nature!
Could you explain a little about your approach to the visuals and sounds and how you wanted to capture nature/the otherworldly?
Actually the literal translation of the film’s Chinese title is “To Visit a Historic Site on This Day.” I wanted to evoke an experience for the audience akin to reading ancient Chinese travelogues, where later generations observe imagery left by their predecessors. Hence, many of my visual choices were guided by this concept, including the choice of our camera and usage of black and white.
In terms of sound design, a crucial aspect was capturing the intrusion, blending, and dissolution of human activity within the natural environment. I think your sense of an ‘otherworldly’ atmosphere may stem from the presence of industrialized and modern elements injected into the otherwise pristine natural setting. And this is what I hope to do. I have been always fascinated about the surreal and mysterious dimensions that are hidden in the daily life and realistic space.
Speaking of POV shots from “creatures,” can you explain what is going on with that conversation with the old villager? Cal has been replaced by something else? Was that POV done by a drone? Where did the sounds come from? Is there a particular meaning to “The Dragon King in the East helped it back into the sea”?
I don’t intend to provide a singular, definitive explanation, as I hope audiences will interpret and feel the film on their own terms, rather than be confined by my answers. However, my intention was to imbue Cal with a transcendent ability and perspective through her control of the drone. Even as she enters this fantastical world, she transcends linguistic barriers, communicating freely with the creatures within. In collaboration with the sound designer, we chose two distinct elements to represent Cal and the villager. Cal is likened to a phoenix from another realm, while the villager embodies the rootedness of centuries-old wood within the land. Indeed, the POV shot was captured using a drone.
As for the mention of the Dragon King of the East Sea, it was inspired by news of stranded whales in the East Sea. I perceived the colossal installation as akin to a beached whale. Perhaps it’s my personal romanticized imagination—a representation of industrial behemoths needing to transform into organic entities to coexist harmoniously with nature eternally.
What was the installation meant to be, anyway?
I didn’t intend for it to signify anything specific; it’s simply an installation.
In terms of the titular Shangri-la of this film, where is it found? Is it the actual natural environment around the shoot or a state of mind that Cal reaches?
“Shangri-La” is actually a literary term referring to any earthly paradise or utopia – an enduringly happy land, isolated from the world. You can understand it as the realm Cal enters after operating the drone.
How was the actual shoot for Sojourn in Shangri-la?
The shoot lasted for two days and a half. Two days were for the main plot with the actors and we used another half day to take scenery shots. During the filming process, we had to contend with the ever-changing tides and winds. Several scenes were set at the intersection of sea and beach during high tide. After each take, we had to swiftly move all our equipment closer to the shore to avoid being hit by the sea water. Additionally, the strong winds at the seaside posed challenges for flying drones. Each time we operated the drone, it was nerve-wracking, but thankfully, we managed to successfully complete the filming.
What would you like viewers to take from this film?
From my own perspective, I sought to portray the collapse of human order juxtaposed with the eternal order of nature, highlighting the fragility of human constructs and the enduring resilience of the natural world.
At some previous festivals, some audience interpreted it as the failure of communication between people. I also found it very interesting. So I’m open to any interpretations.
Sojourn to Shangri-la was screened at Osaka Asian Film Festival 2024.
You can read my review here.