Created on

1

/

8

/

2026

,

22

:

1

Updated on

1

/

14

/

2026

,

2

:

33

Location

Oakland, CA

Puritans(iv): Calvin was forced into becoming a theologian

清教徒(iv):加尔文被逼成神学家

前言:本文和chatgpt合作写成。


1517年,马丁·路德发表《九十五条论纲》,公开挑战天主教会的权威,宗教改革由此爆发。新教随之兴起,强调“因信称义”和“圣经至上”,否定教会在救赎中的中介地位,主张信仰的最终权威只存在于《圣经》和个人良心之中。英格兰很快跟进了这场改革,但问题在于,英格兰的宗教改革从一开始就是一场“政治先行、宗教半套”的改革。1534年,亨利八世与罗马教廷决裂,成立英格兰国教,但现实却是:在教义上部分吸收新教思想,在结构、仪式和主教制度上却高度保留了天主教的旧有框架。

在继续讨论清教徒之前,有必要先厘清基督教、天主教、东正教与新教之间的关系。基督教(Christianity)是一个总称,指一切承认耶稣是“基督”,承认其受难与复活,并以《圣经》为信仰核心的宗教传统。它并不是一个单一教会,而是一整套围绕耶稣展开的信仰体系集合。围绕同一位耶稣,历史上逐渐形成了不同的制度与权威结构,于是分化出天主教、东正教和新教等主要传统。分歧的关键,从来不在“信不信耶稣”,而在“谁有权解释信仰、管理教会”。

天主教与东正教都自认为继承了早期基督教的正统传统,强调圣礼、传统和神职体系,但在权威结构上出现了根本分歧。天主教以罗马为中心,承认教皇拥有普世教会的最高裁决权,认为教会本身通过历史传统与历次会议构成信仰权威的一部分;东正教则拒绝教皇至上权,主张由各地自治教会共同守护传统。两者在教义内容上高度相似,却在“最终裁决权归谁”这一问题上不可调和。

新教的出现,直接否定了天主教与东正教共享的“教会即权威”的逻辑。16世纪宗教改革中,以马丁·路德为代表的新教思想提出“唯独圣经”和“因信称义”,认为人的得救不依赖教会仪式或神职中介,而依赖个人与上帝之间的信仰关系。这一原则连锁地否定了教皇权威,削弱了圣礼的中介地位,并将圣经的解释权从教会结构中释放出来。新教因此并不是一个统一教会,而是一系列共享这些原则的宗派集合。

天主教与新教的根本差异,并不在于仪式风格,而在于权力来源。天主教认为圣经、教会传统与教会权威共同构成真理体系,教会是救恩的中介系统;新教则认为只有圣经具有最终权威,教会只是信徒的聚集。前者强调等级、仪式与历史连续性,后者强调个人良心、讲道与去等级化。这种差异,决定了两者对政治、社会秩序与个人责任的根本不同理解。

英格兰国教之所以被称为“教义半新教”,正是因为它在神学文本上向新教让步,却在制度与仪式上保留了天主教的骨架。英格兰与罗马的决裂,主要出于政治需要:否定教皇权威,引入英文礼拜,并吸收部分新教教义;但与此同时,它完整保留了主教制度、教区结构、国家控制教会的人事体系,以及大量传统礼仪与祷文。这种刻意的折中有利于国家治理,却在清教徒看来意味着原则性的背叛——权威只是从教会转交给国家,而不是彻底交还给圣经与信仰本身。

清教徒真正的思想底色,来自约翰·加尔文,而不是路德。加尔文出生于法国,最初接受的是法律教育。他的父亲在教会系统中工作,希望他进入教会—法律混合的上升通道,因此先送他学习人文学科,后转向法律。加尔文在巴黎、奥尔良等地接受了严格的法律训练,熟悉罗马法、文本解释、逻辑推演与制度设计。他的人生轨迹发生转折,源于1533年11月1日巴黎大学索邦神学院的一场就职演讲。

索邦的正式背景是巴黎大学的神学院,而巴黎大学自13世纪起便是西欧天主教世界最重要的学术权威之一。索邦最初由罗贝尔·德·索邦创立,目的是为贫穷神学生提供教育,但很快发展成专门裁定神学正统性的机构。到宗教改革时期,“索邦的意见”几乎等同于“正统天主教的立场”,在法国乃至整个拉丁基督教世界都具有权威效力。

索邦不仅研究神学,更裁定什么是“正统”,什么是“异端”。它拥有审查书籍、评估讲道、并向王权提供宗教合法性意见的权力。法国国王在宗教事务上往往需要索邦的神学背书;反过来,索邦也依赖王权执行对异端的镇压。这种高度互相依赖的关系,使索邦成为国家—教会联盟中的核心节点。

正是在这次就职演讲中,尼古拉·科普强调,基督徒得救的根基并不在于外在制度,而在于内在信仰。人之所以成为真正的基督徒,不在于遵守多少仪式、完成多少善功,而在于是否真正理解并接受福音本身。这种表述在语言上看似温和,却精准触及宗教改革的核心命题——因信称义。在天主教语境中,信仰必须通过教会、圣礼与善功完成;而在新教语境中,信仰本身就是通向救赎的充分条件。

更具挑衅性的是,这篇演说弱化甚至回避了教会作为中介的地位。演讲没有强调教会传统、教皇权威或神职等级,而是反复引用《圣经》文本,暗示圣经本身已经足以指引信徒理解真理。这在形式上仍然是拉丁文,仍然发生在大学讲坛上,但在逻辑上已经非常接近“唯独圣经”的立场。对索邦神学院而言,这几乎等同于否认其存在的根本理由。

与此同时,这篇演说还带有明显的人文主义与改革派交叉色彩,批评空洞的经院神学,讽刺那些沉迷形式辩论却忽视基督精神本身的学术传统。这类批评在文艺复兴人文主义中并不罕见,但在1530年代的法国政治环境下,这种话语已经与路德派和改革派思想高度重叠。当学术批评开始指向教会权威本身,它就不再只是学术问题。

在巴黎大学这一象征天主教正统的机构中,校长的就职演讲被视为对国家与教会立场的公开表态。换句话说,这等同于在官方场合宣称:大学最高职位的持有者,对天主教的救赎体系持根本怀疑态度。正因如此,这篇演说几乎不需要逐字审查,就被认定为“异端倾向文本”。它触发的不是神学辩论,而是政治反应。科普很快被调查并被迫逃离,而与其思想圈层高度重叠的年轻学者——包括约翰·加尔文——也随即成为潜在清洗对象。

索邦神学院已经明确认定,巴黎大学内部存在一个改革派思想网络。接下来发生的不是公开辩论,而是调查、指控与名单化。索邦启动异端审查程序,王权介入。加尔文的问题在于,他的位置过于敏感:他不是无名学生,而是受过精英教育、与科普私交密切、并被视为改革派重要思想资源的人。学界普遍认为,他至少参与了那篇演说的构思或修订。即便没有确凿书面证据,在当时也已经足够。

法国选择了镇压改革,而加尔文被逼成了神学家。

Preface: This article was written in collaboration with ChatGPT.


In 1517, Martin Luther published the Ninety-Five Theses, openly challenging the authority of the Catholic Church and igniting the Protestant Reformation. Protestantism soon emerged, emphasizing justification by faith alone and the supremacy of Scripture, and rejecting the Church’s role as a necessary intermediary in salvation. England followed quickly, but its reform took a distinctive path: it was “politics first, theology half-done.” In 1534, Henry VIII broke with Rome and established the Church of England. In practice, however, this new church adopted some Protestant theology while retaining Catholic structures—its rituals, episcopal hierarchy, and much of its institutional framework remained largely intact.

Before turning to the Puritans, it is necessary to clarify the relationship among Christianity, Catholicism, Orthodoxy, and Protestantism. Christianity is an umbrella term encompassing all religious traditions that confess Jesus as the Christ, affirm his crucifixion and resurrection, and treat the Bible as the core sacred text. It is not a single church, but a family of traditions centered on the same figure. Over time, different institutional forms and sources of authority developed around Jesus, giving rise to Catholicism, Eastern Orthodoxy, and Protestantism. The fundamental division has never been about belief in Jesus, but about who has the authority to interpret faith and govern the church.

Both Catholicism and Eastern Orthodoxy understand themselves as heirs to early Christian orthodoxy, emphasizing sacramental life, tradition, and a structured clergy. Their decisive break lies in authority. Catholicism is centered on Rome and recognizes the pope as the supreme arbiter of the universal church, viewing church tradition and councils as integral components of religious authority. Eastern Orthodoxy rejects papal supremacy and instead upholds a communion of self-governing local churches that collectively preserve tradition. Though their doctrines are largely similar, they remain irreconcilably divided over the question of final authority.

Protestantism emerged as a direct rejection of the shared premise of Catholicism and Orthodoxy that the church itself constitutes religious authority. During the sixteenth-century Reformation, Protestant thinkers—most prominently Martin Luther—advanced the principles of sola scriptura and justification by faith alone, arguing that salvation does not depend on ecclesiastical rites or clerical mediation but on the believer’s personal relationship with God. These principles undermined papal authority, weakened the salvific role of the sacraments, and removed the monopoly of biblical interpretation from ecclesiastical institutions. As a result, Protestantism developed not as a single church but as a constellation of denominations united by these shared convictions.

The fundamental difference between Catholicism and Protestantism lies not in ritual style but in the source of authority. Catholicism holds that Scripture, church tradition, and ecclesiastical authority together constitute truth, with the church functioning as a mediating system of salvation. Protestantism asserts that Scripture alone has ultimate authority and that the church is merely the gathering of believers. The former emphasizes hierarchy, ritual, and continuity; the latter emphasizes individual conscience, preaching, and the rejection of spiritual elites. These divergent assumptions produce profoundly different attitudes toward politics, social order, and personal responsibility.

The Church of England is often described as “theologically half-Protestant” precisely because it conceded ground to Protestant theology while preserving the institutional skeleton of Catholicism. England’s break with Rome was driven primarily by political necessity: papal authority was rejected, vernacular worship introduced, and certain Protestant doctrines adopted. Yet the episcopal system, diocesan structure, state control over church appointments, and much traditional liturgy and prayer were retained. This deliberate compromise served the needs of governance, but to the Puritans it represented a fundamental betrayal—authority had merely shifted from the church to the state, rather than being returned wholly to Scripture and faith.

The intellectual foundation of Puritanism derived not from Luther but from John Calvin. Calvin was born in France and initially trained as a lawyer. His father, who worked within ecclesiastical administration, envisioned a career for him along a church-law pathway and directed him first toward humanist studies and then toward legal training. Calvin studied in Paris and Orléans, acquiring rigorous skills in Roman law, textual interpretation, logical argumentation, and institutional design. His trajectory changed decisively after November 1, 1533, with an inaugural address delivered at the Faculty of Theology of the University of Paris, known as the Sorbonne.

The Sorbonne was the theological faculty of the University of Paris, which since the thirteenth century had stood as one of the most authoritative centers of Catholic learning in Western Europe. Founded by Robert de Sorbon to educate poor theology students, it evolved into the institution responsible for defining theological orthodoxy. By the time of the Reformation, “the opinion of the Sorbonne” was virtually synonymous with orthodox Catholic doctrine, carrying weight not only in France but across Latin Christendom.

The Sorbonne did more than teach theology; it determined what counted as orthodoxy and what constituted heresy. It possessed the authority to censor books, evaluate sermons, and provide theological justification for royal policy. French kings depended on the Sorbonne’s endorsement in religious matters, while the Sorbonne relied on royal power to enforce repression of heresy. This mutual dependence placed the Sorbonne at the heart of the church–state alliance.

It was in this context that Nicolas Cop’s inaugural address asserted that the foundation of Christian salvation lay not in external institutions but in inner faith. True Christianity, the address argued, did not consist in the accumulation of rituals or good works, but in genuine understanding and acceptance of the Gospel. Though moderate in tone, this claim struck directly at the core Reformation doctrine of justification by faith alone. In Catholic theology, faith operates through the church, the sacraments, and good works; in Protestant theology, faith itself suffices for salvation.

More provocatively, the address minimized—if not bypassed—the mediating role of the church. It avoided appeals to ecclesiastical tradition, papal authority, or clerical hierarchy, and instead repeatedly cited Scripture, implying that the Bible alone was sufficient to guide believers to truth. Formally, the speech was delivered in Latin and from a university podium; substantively, it approached the principle of sola scriptura. For the Sorbonne, this was tantamount to denying the very rationale for its existence.

The address also bore the marks of humanist and reformist convergence. It criticized sterile scholastic theology and mocked academic debates obsessed with form while neglecting the substance of Christ’s message. Such critiques were familiar within Renaissance humanism, but in the political climate of 1530s France they closely overlapped with Lutheran and reformist positions. Once academic criticism turned against ecclesiastical authority itself, it ceased to be merely academic.

Within the University of Paris—an emblem of Catholic orthodoxy—the rector’s inaugural address was understood as a public declaration of institutional stance. Effectively, it signaled that the university’s highest officeholder harbored fundamental doubts about the Catholic system of salvation. As a result, the speech required no line-by-line refutation to be condemned as heretical in tendency. What followed was not theological debate but political reaction. Cop was swiftly investigated and forced into exile, and younger scholars associated with his intellectual circle, including John Calvin, became potential targets of repression.

The Sorbonne concluded that a network of reformist ideas had taken root within the university. What followed was not open discussion but investigation, accusation, and the compilation of names. The Sorbonne initiated heresy proceedings, and royal authority intervened. Calvin’s vulnerability lay in his position: he was not an obscure student, but an elite-trained intellectual closely connected to Cop and regarded as a valuable thinker within reformist circles. Scholars generally agree that he at least contributed to the conception or drafting of the address. In that context, even the absence of documentary proof was sufficient.

France chose repression over reform—and Calvin was driven into becoming a theologian.



Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

PRODUCT

Design

Content

Publish

RESOURCES

Blog

Careers

Docs

About