Fei chang yi han or So Sorry (Mandarin, English Subtitles, 55 minutes)
As a sequel to Ai Weiwei’s film Lao Ma Ti Hua, the film “So Sorry” shows the beginnings of the tension between Ai Weiwei and the Chinese Government. In Lao Ma Ti Hua, Ai Weiwei travels to Chengdu, China to attend the trial of the civil rights advocate Tan Zuoren, as a witness.
In So Sorry, you see the investigation led by Ai Weiwei studio to identify the students who died during the Sichuan earthquake as a result of corruption and poor building constructions leading to the confrontation between Ai Weiwei and the Chengdu police.
Tang Shui’en, mainland left-libertarian musician and activist, recounts his path from childhood in 1980s rural Hubei to participation in Wuhan’s pioneering punk scene since the late 1990s, interaction with overseas radicals, and experimentation with independent media and an “autonomous youth center.”
Among the common masses, how many of us are aware of the oppressive forces that push us to society’s margins?
Apart from a small minority, most people – even if at every moment they feel discomfort – are unable to determine the source of this pain. The word “marginal” itself is so abstract that it can only serve as a code of recondite academia and mass media. As the radical Brazilian educator Paulo Freire has shown, the masses are the “object” of development. We do not exist within the active process of naming things, but only within the theories of education and behavior created by our oppressors, which have fostered a “culture of silence” among the people.