Created on

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28

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2026

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7

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36

Updated on

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2026

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58

Location

Oakland, CA

United States (I): Retelling The Story Everyone Knows

美国 (I):重新说

写在前面:从新的角度去看一些大家都知道的历史。本文和chatgpt合作完成。


18 世纪中叶,北美殖民地已经形成相当成熟的地方自治实践。

这种自治并非抽象理念,而是一整套已经持续运作了数十年、在某些地区甚至超过一百年的实际治理经验。英国在北美扩张过程中,并未对殖民地实施高强度、全方位的日常统治。一方面,帝国的行政与军事资源长期优先投入欧洲事务;另一方面,只要殖民地承认王权、服从整体贸易框架、在战争时期提供人力与物资支持,伦敦往往默认地方事务由殖民地自行处理。

在政治层面,几乎所有殖民地都建立了形式各异但持续运作的本地代议机构。例如弗吉尼亚长期存在的弗吉尼亚议会,新英格兰地区高度活跃的城镇大会制度。殖民地议会并非统一模板,而是在共同的英国宪政传统下形成的多种变体,但其核心功能高度相似:处理税收、预算、地方立法,并对总督权力形成现实制衡。

在多数殖民地,议会呈现出一种两层结构。上层通常由总督及其顾问委员会构成,多由王室任命,成员往往是大地主、商人或法律精英,代表帝国权威在地方的延伸;下层则是民选议会,成员来自各县或城镇,掌握着实际的财政控制权和立法主动权。以弗吉尼亚为例,下院长期控制拨款权,使总督在现实治理中不得不与议会协商,而非单向命令。

在选拔方式上,下院议员并非贵族世袭,而是通过选举产生,但这一选举具有明确限制。投票权通常只属于自由白人男性,并需满足一定的财产或纳税门槛;女性、奴隶、原住民以及大量无产白人男性被排除在外。这并不是现代意义上的民主,但在 18 世纪的大西洋世界中,已属于相对广泛的政治参与形式。关键不在于覆盖面,而在于统治并非纯粹自上而下,而是必须经由地方代表这一中介完成。议员本身多为地方精英——种植园主、律师、商人、教会人士——他们往往彼此熟识,兼任多重社会角色,在经济、司法与政治领域交叉运作。这使殖民地议会既是正式政治机构,也是地方权力网络的集中体现。其讨论内容高度务实,围绕税率、道路、民兵经费、港口管理、法院设置等具体事务展开,而非抽象意识形态辩论。

通过对税收与预算的控制,议会逐步确立了一个事实性原则:没有代表同意,就不存在合法征税。这一实践先于理论存在,后来才被概括为“无代表不纳税”。因此,当伦敦试图绕过殖民地议会直接征税时,殖民地的反应往往不是“我们要求民主”,而是“你正在破坏我们早已运转的宪政关系”。殖民地议会的意义,并不在于其民主程度,而在于它训练了一整代政治参与者。他们习惯选人、开会、讨价还价、拒绝行政要求,并将这些行为视为治理的正常组成部分。

地方治安、道路维护、教会事务、贫困救济、学校管理,大多由城镇、县或殖民地自行处理。新英格兰的城镇会议制度尤为突出,自由白人男性地主可以直接参与公共事务讨论与表决。地方治安并非职业警察体系,而是社区责任制度。城镇会选举或轮值产生治安官、巡夜人、治安委员,负责巡逻、拘押、传唤和执行法院命令。治安并不依赖持续监控,而依赖熟人社会的可见性。犯罪被视为破坏社区秩序的行为,处理方式强调公开、羞辱、罚款和短期拘禁,而非长期隔离。这使“治安”在心理上成为社区事务,而非外来暴力。

道路维护采取强制公共义务模式。城镇会议决定修缮计划,并按户或按土地规模分配劳役义务。居民不是通过纳税“购买服务”,而是被要求直接参与或出资替代。这种方式效率有限,却将基础设施明确界定为集体责任。教会事务在许多殖民地与地方治理高度重叠。尤其在新英格兰,城镇会议常决定牧师聘任、教会经费与纪律规范。教会既是宗教机构,也是社会治理节点,承担道德监督、婚姻记录、救济分发与社区调解等职能。即便在宗教更为多元的殖民地,教会仍承担大量准公共功能。

贫困救济几乎完全由地方负责。城镇指定贫民监督员,对救济对象进行登记与评估,救济以最低生存保障为原则,并附带严格道德审查。这一制度残酷,却强化了一个认知:资源分配是地方决策,而非中央福利。学校管理亦然。小学多由城镇集资设立,教师由地方聘任,课程内容反映地方宗教与社会价值。教育被视为维持社区秩序的工具,而非普遍权利。是否建校、建多大规模、教授什么,都是城镇会议的具体议题。这些治理方式共同依赖一种机制:公开会议、地方选任、集体执行、熟人监督。治理不是抽象制度,而是一种被反复实践的生活秩序。人们或许不满具体负担,但默认这些要求来自“我们自己”。

地方法官、陪审团与律师构成了一套日常运转的法律世界。人们习惯通过本地法律程序解决土地、债务、继承与商业纠纷,而非直接诉诸伦敦。陪审团制度是核心环节。事实判断交由由本地自由白人男性组成的陪审团完成。现代视角或许质疑其“中立性”,但在当时,这种嵌入性恰恰意味着裁决被视为社区判断,而非外来命令。陪审团在实践中对法官与行政权力形成重要制衡。殖民地并非人人懂法,但已有一批受训律师使用英国法律教材与判例进行辩护。

威廉·布莱克斯通的《英国法释义》在 1760 年代后期迅速在殖民地流通,为法律理解提供了系统化语言。在英属北美殖民地与后来的美国,布莱克斯通的影响甚至超过英国本土。《法律评注》是殖民地律师、法官和政治精英的必读书目,美国建国早期的法律语言、财产权观念、程序正义理解,都深度吸收了他的框架。直到今天,美国法院仍频繁引用布莱克斯通来解释“普通法传统中本应如何理解某项权利”。

布莱克斯通对自然权利、普通法权利与宪制限制的区分,强化了殖民地人的合法性意识:权力必须在既定法律结构内运行。政府的正当性来自保护人身安全、个人自由与财产,而非随意重塑它们。这种法律直觉,与洛克等思想传统一道,构成了殖民地政治语言的重要资源。

在财政与经济层面,殖民地长期自行征税、自行举债,并在相当程度上管理贸易细节。殖民地议会控制本地直接税与支出,用于治安、法院、道路、民兵与官员薪酬。总督若要获得资金,往往必须通过议会批准,这在结构上将财政权牢牢留在地方。殖民地也通过发行债券、纸币与借款应对战争与基础设施支出,而非依赖英国财政拨款。这种财政自主性,使殖民地更像松散帝国中的准自治经济体。

七年战争后,英国财政压力骤增,开始收紧这一长期宽松的体系:加强海关执法、扩大无陪审团的海事法庭权限、绕过殖民地议会直接征税。在伦敦看来,这是恢复秩序;在殖民地看来,却是对既有经济—政治契约的单方面修改。对一个已习惯在规则与弹性之间运作的社会而言,这种变化不仅是税负问题,而是经济生活被重新置于一个不可参与、不可谈判的权力之下。这种断裂,将经济摩擦直接推向政治对抗。

Preface: Revisiting familiar history from a different angle. This essay was produced in collaboration with ChatGPT.


By the mid-eighteenth century, the North American colonies had already developed relatively mature practices of local self-government.

This self-government was not an abstract ideal but a set of practical governing arrangements that had been operating continuously for decades, and in some regions for more than a century. In the course of Britain’s expansion in North America, the empire did not impose high-intensity, comprehensive daily rule over the colonies. On the one hand, imperial administrative and military resources were long concentrated on European affairs; on the other, as long as the colonies acknowledged royal authority, complied with the overall trade framework, and provided manpower and material support in wartime, London generally acquiesced to local affairs being handled by the colonies themselves.

At the political level, almost all colonies established local representative institutions of varying forms but continuous operation. Examples include the long-standing Virginia Assembly and the highly active town-meeting system of New England. Colonial assemblies did not follow a single template; rather, they were multiple variants formed within a shared British constitutional tradition. Their core functions, however, were highly similar: managing taxation, budgets, and local legislation, and exerting real constraints on gubernatorial power.

In most colonies, assemblies took on a two-tier structure. The upper tier usually consisted of the governor and an advisory council, largely appointed by the Crown. Its members were often large landowners, merchants, or legal elites, representing the extension of imperial authority at the local level. The lower tier was an elected assembly, with members chosen from counties or towns, and it held effective control over finance and legislative initiative. In Virginia, for example, the lower house long controlled appropriations, forcing governors in practice to negotiate with the assembly rather than issue unilateral commands.

In terms of selection, members of the lower house were not hereditary nobles but were chosen through elections, albeit elections with clear restrictions. Voting rights were typically limited to free white men who met property or tax qualifications; women, enslaved people, Indigenous populations, and many property-less white men were excluded. This was not democracy in the modern sense, but within the eighteenth-century Atlantic world it represented a relatively broad form of political participation. The key point was not the breadth of inclusion, but that governance was not purely top-down: it had to pass through the intermediary of local representatives. Assembly members themselves were usually local elites—planters, lawyers, merchants, clergy—who often knew one another personally and held overlapping roles across economic, judicial, and political domains. As a result, colonial assemblies functioned both as formal political institutions and as concentrated expressions of local power networks. Their deliberations were highly pragmatic, focused on concrete matters such as tax rates, roads, militia funding, port management, and court organization, rather than abstract ideological debate.

Through control over taxation and budgets, assemblies gradually established a de facto principle: without the consent of representatives, there was no legitimate taxation. This practice preceded theory and was later summarized as “no taxation without representation.” Consequently, when London attempted to levy taxes directly while bypassing colonial assemblies, the colonial response was often not “we demand democracy,” but “you are destroying a constitutional relationship that has long been in operation.” The significance of colonial assemblies lay less in their democratic character than in their training function: they socialized an entire generation into political participation. People became accustomed to selecting representatives, holding meetings, bargaining, refusing administrative demands, and treating such actions as normal components of governance.

Local policing, road maintenance, church affairs, poor relief, and school management were largely handled by towns, counties, or colonies themselves. New England’s town-meeting system was especially prominent: free white male property holders could directly participate in public discussion and voting. Policing was not a professionalized police system but a community responsibility regime. Towns elected or rotated constables, night watchmen, and justices of the peace to handle patrols, detentions, summonses, and the execution of court orders. Order was maintained not through constant surveillance but through the visibility of a society of acquaintances. Crime was understood as a disruption of community order, and responses emphasized publicity, shaming, fines, and short-term confinement rather than long-term isolation. This made “public order” psychologically a community matter rather than an external force.

Road maintenance followed a model of compulsory public obligation. Town meetings decided repair plans and assigned labor duties by household or landholding size. Residents did not “purchase services” through taxes; they were required to contribute labor directly or pay a substitute fee. This method was inefficient, but it clearly defined infrastructure as a collective responsibility. Church affairs overlapped heavily with local governance in many colonies. In New England in particular, town meetings often decided ministerial appointments, church funding, and disciplinary norms. Churches functioned not only as religious institutions but also as nodes of social governance, responsible for moral supervision, marriage records, relief distribution, and community mediation. Even in more religiously diverse colonies, churches carried out many quasi-public functions.

Poor relief was almost entirely a local responsibility. Towns appointed overseers of the poor to register and assess recipients; aid was provided at a subsistence minimum and accompanied by strict moral scrutiny. This system was harsh, but it reinforced a shared understanding that resource allocation was a local decision rather than a central welfare entitlement. School management followed a similar pattern. Primary schools were typically funded by towns, teachers were locally hired, and curricula reflected local religious and social values. Education was seen as a tool for maintaining community order, not as a universal right. Whether to build a school, how large it should be, and what should be taught were concrete matters for town meetings. All these governing practices relied on the same mechanisms: open meetings, local selection, collective execution, and oversight within a society of acquaintances. Governance was not an abstract system but a repeatedly enacted way of life. People might resent specific burdens, but they generally accepted that these demands came from “ourselves.”

Local magistrates, juries, and lawyers formed a legal world of everyday operation. People were accustomed to resolving disputes over land, debt, inheritance, and commerce through local legal procedures rather than appealing directly to London. The jury system was central. Determinations of fact were entrusted to juries composed of local free white men. From a modern perspective, one might question their “neutrality,” but at the time this embeddedness was precisely what made verdicts feel like community judgments rather than external commands. In practice, juries formed an important check on judges and administrative power. While not everyone in the colonies understood the law, a trained group of lawyers already existed, using British legal textbooks and precedents in argument.

From the late 1760s onward, William Blackstone’s Commentaries on the Laws of England circulated rapidly in the colonies, providing a systematic language for legal understanding. In British North America and later in the United States, Blackstone’s influence arguably exceeded that in Britain itself. His work became required reading for colonial lawyers, judges, and political elites, and the legal language, concepts of property, and understandings of procedural justice in early American constitutionalism drew heavily on his framework. To this day, U.S. courts frequently cite Blackstone when interpreting how rights were understood within the common-law tradition.

Blackstone’s distinctions among natural rights, common-law rights, and constitutional limits reinforced colonial notions of legitimacy: power had to operate within established legal structures. Government derived its justification from protecting personal security, individual liberty, and property, not from arbitrarily reshaping them. This legal intuition, alongside Lockean traditions, became a key resource in colonial political language.

At the fiscal and economic level, the colonies long taxed themselves, borrowed on their own credit, and managed trade details to a significant extent. Colonial assemblies controlled local direct taxes and expenditures for policing, courts, roads, militias, and officials’ salaries. Governors seeking funds typically had to obtain assembly approval, structurally anchoring fiscal power at the local level. Colonies also financed wars and infrastructure through bonds, paper money, and borrowing rather than relying on British treasury subsidies. This fiscal autonomy made the colonies resemble quasi-autonomous economic units within a loosely structured empire.

After the Seven Years’ War, Britain’s fiscal pressures surged, and it began tightening this long-standing permissive system: strengthening customs enforcement, expanding the jurisdiction of jury-less admiralty courts, and imposing taxes directly while bypassing colonial assemblies. From London’s perspective, this was a restoration of order; from the colonial perspective, it was a unilateral revision of an existing economic-political compact. For a society accustomed to operating within negotiated rules and flexibilities, this shift was not merely about tax burdens, but about economic life being placed under a power that was neither participatory nor negotiable. This rupture pushed economic friction directly into political confrontation.

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。

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