DATE

3/14/2025

TIME

LOCATION

Oakland, CA

Who i am #2. Love 

DATE

3/14/2025

TIME

LOCATION

Oakland, CA

Who i am #2. Love 

DATE

3/14/2025

TIME

LOCATION

Oakland, CA

Who i am #2. Love 

I used to think the ability to love is a learned behavior. Because it wasn’t that subtle to me that nobody in my life ever knew how to love me, I didn’t want to believe they didn’t love me, I wanted to think that they did, they just weren't sure how. 

These days, I’m not so sure. I’m not sure if you can love a person the wrong way, unless, of course, you are fantasizing over the idea of loving someone under the disguise of total self-absorption. You think you love me, but you know nothing about me. You don’t listen to me, how I’m feeling, how i’m telling you i’d like to be treated, how I know what you mean, no I don’t have time for it now, no I need to do these more important things first or i’ll regret for the rest of my life. How I want to be left alone after you guys start throwing plates at each other, how I shut the door but had to lock it because I knew you’d open it, you still somehow broke the lock with a hammer. You willed that hammer onto the handle on the other side, one hit after another. How could this, be the right way, to love someone? 

Would it be too cruel for me to admit that they didn’t love me? They loved themselves more, their face, their raise, their name, their legacy, their status, what they think is right, their position as the older and more authoritative. How could you say, that you love me? 

You should be grateful, they say. Who has access and opportunities to all these, they say. You thought you’d have the feather bed, silk pajamas, Barbie from abroad, concert tickets, movies, drawing, dance, calligraphy, you think these are all normal? 

I don’t know what’s normal. I’m not sure what’s normal, apparently I have no clue. I ask Daiga everyday, is that ok? Can I do that? Is that normal? He always say, yes, it’s ok, who cares if it’s normal. But what if people think I’m weird? What if they don’t like me? What if I won’t be loved? Fuck them, he says. Sometimes I’m not sure if he’d grown up showered with love that he didn’t care for it, or had he been yearning it for too long that he grew numb. He seemed to care a lot less about being loved. Even though, he did love me. I used to be so sure of it, now, I’m not so sure. These days, I’ve grown numb, like how I was before. 

I didn’t know how to feel for a long time, which’s only normal consider the amount of verbal and physical violence that goes on in the house for quite a few years, 7th grade all the way until I left. 

They’d fight about almost anything, the food, the door, the trash, the outfit, something he said, she said, you shouldn’t have said, something you did, you didn’t, I hate you, but I can’t leave you, so I will torture you, you will live in my hell with me. Maybe that was the deepest kind of love, that I didn’t understand. When you love someone, you live in hell with her. You go through hell with her. You heal with her. You care for her. You wait for her. Because you know, you’ve seen. 

It’s like in Zoe Kravitz’s debut Blink Twice, which i believe depicts what happens in Hollywood all the time, a group party of rapists raping together while women are drugged or tortured. It’s the rich people party. It’s fine. 

In the movie, Naomi Ackie and her friend get invited to an island for a break by billionaire Channing Tatum randomly at a banquet. They go to the island and they party and party, and drinking and smoking and happy for who knows how many days, until one day, she accidentally remembers what’s been happening at night. The raping, the shooting, the torturing, everything will be forgotten in the morning with drugs, only the good things during the day. That’s how I feel, all the time. 

How can you party here, after seeing what goes on at night? How can you be happy, after knowing that you had be treated that way? Intentionally, at their pleasure? The grotesque nature of all of these makes me sick. I couldn’t get that movie out of my mind. I still can’t get that out of mind. This is not a party. This is hell, living hell, we are all burning in hell. 

So let’s suffer until death do us apart, you will be here, burn with me, until the very end.

我曾经以为,去爱一个人的能力是一种习得的行为。因为我太清楚了——没有任何一个出现在我生命中的人,真正知道如何去爱我。我不想相信他们不爱我,我更愿意相信,他们是爱我的,只是他们不知道怎么去爱。

但现在,我不那么确定了。我不确定,一个人是否真的可以“用错方式”去爱另一个人——除非,当然,你爱的并不是那个人,而是你幻想中“爱一个人”的样子,在自我沉溺的外壳下伪装成爱。你以为你爱我,但你对我一无所知。你不听我说我是什么感觉,不听我说我想被怎样对待,不听我说我明白你什么意思,但我现在没时间,我必须先做这些更重要的事,不然我会后悔一辈子。我说,当你们开始互相砸盘子之后,我只想被留下一个人呆着。我把门关上,但不得不锁上,因为我知道你会推开它。你最后还是用锤子砸坏了门锁。你用意志控制着那把锤子,一下又一下砸在另一侧的门把上。这种方式,怎么可能是爱一个人的方式?

我说他们根本不爱我,会不会太残忍了?他们爱的是他们自己,他们的面子、升迁、名字、传承、社会地位、他们所坚持的“对的事情”、他们身为长辈或更有权威者的位置。你怎么能说,你爱我?

“你应该感恩。” 他们说。“谁能有机会接触这些资源?” 他们说。你以为你能有羽毛床、丝绸睡衣、从国外带回来的芭比娃娃、演唱会门票、电影、画画、跳舞、书法,这些是正常的吗?

我不知道什么是“正常”。我不确定什么是正常,我显然一点概念都没有。我每天都在问Daiga:“这样可以吗?我能这么做吗?这正常吗?”他总是说,“可以啊,没事,谁在乎正不正常。”但我如果太奇怪怎么办?别人不喜欢我怎么办?如果我得不到爱怎么办?“去他妈的,”他会说。有时候我也搞不清楚他是不是从小太被爱了所以才不在乎这些,还是他太久太久渴望爱而不得,最后变得麻木。他似乎并不太在乎是否被爱。虽然他确实曾经爱我。我以前很确定,但现在,我不太确定了。最近,我又麻木了,像从前一样。

我有很长一段时间都不知道自己应该感觉什么——也正常,毕竟家里那么多年的语言暴力和肢体暴力,从初一开始,一直到我离开。

他们几乎为了任何事都能吵起来:饭菜、门、垃圾、衣服、某句话、谁说的、不该说的、做了什么、没做什么、“我恨你但我离不开你,所以我要折磨你,你要跟我一起活在地狱里”。也许,那是某种最深沉的爱,只是我不懂。当你爱一个人,你就和她一起下地狱。你陪她走过地狱。你和她一起疗愈。你照顾她。你等她。因为你知道,你见过。

就像Zoe Kravitz导演的处女作《Blink Twice》那样,我相信那是好莱坞一直在发生的事——一群强奸犯聚会一起施暴,女人们被下药或被折磨。这就是有钱人的聚会。没人觉得有什么问题。

电影里,Naomi Ackie和她的朋友在一场宴会上被亿万富翁Channing Tatum随机邀请去小岛度假。她们去了岛上,然后开始不停地派对、喝酒、抽烟、开心,不知道过了几天,直到有一天,她突然记起晚上发生的事:强奸、枪击、折磨,一切会在第二天早上被药物抹去记忆,只剩下白天的“美好”。这就是我一直以来的感觉。

你怎么能在看到晚上发生了什么之后还继续在这里狂欢?你怎么能在知道自己被那样对待之后还说得出“开心”?而那一切,还是他们故意、为了取乐地做出来的?这一切的扭曲让我作呕。我脑子里一直忘不掉那部电影,到现在都还忘不掉。这不是派对,这是地狱,是活生生的地狱。

那就一起受苦到死吧。你会在这里、直到落幕。

我曾经以为,去爱一个人的能力是一种习得的行为。因为我太清楚了——没有任何一个出现在我生命中的人,真正知道如何去爱我。我不想相信他们不爱我,我更愿意相信,他们是爱我的,只是他们不知道怎么去爱。

但现在,我不那么确定了。我不确定,一个人是否真的可以“用错方式”去爱另一个人——除非,当然,你爱的并不是那个人,而是你幻想中“爱一个人”的样子,在自我沉溺的外壳下伪装成爱。你以为你爱我,但你对我一无所知。你不听我说我是什么感觉,不听我说我想被怎样对待,不听我说我明白你什么意思,但我现在没时间,我必须先做这些更重要的事,不然我会后悔一辈子。我说,当你们开始互相砸盘子之后,我只想被留下一个人呆着。我把门关上,但不得不锁上,因为我知道你会推开它。你最后还是用锤子砸坏了门锁。你用意志控制着那把锤子,一下又一下砸在另一侧的门把上。这种方式,怎么可能是爱一个人的方式?

我说他们根本不爱我,会不会太残忍了?他们爱的是他们自己,他们的面子、升迁、名字、传承、社会地位、他们所坚持的“对的事情”、他们身为长辈或更有权威者的位置。你怎么能说,你爱我?

“你应该感恩。” 他们说。“谁能有机会接触这些资源?” 他们说。你以为你能有羽毛床、丝绸睡衣、从国外带回来的芭比娃娃、演唱会门票、电影、画画、跳舞、书法,这些是正常的吗?

我不知道什么是“正常”。我不确定什么是正常,我显然一点概念都没有。我每天都在问Daiga:“这样可以吗?我能这么做吗?这正常吗?”他总是说,“可以啊,没事,谁在乎正不正常。”但我如果太奇怪怎么办?别人不喜欢我怎么办?如果我得不到爱怎么办?“去他妈的,”他会说。有时候我也搞不清楚他是不是从小太被爱了所以才不在乎这些,还是他太久太久渴望爱而不得,最后变得麻木。他似乎并不太在乎是否被爱。虽然他确实曾经爱我。我以前很确定,但现在,我不太确定了。最近,我又麻木了,像从前一样。

我有很长一段时间都不知道自己应该感觉什么——也正常,毕竟家里那么多年的语言暴力和肢体暴力,从初一开始,一直到我离开。

他们几乎为了任何事都能吵起来:饭菜、门、垃圾、衣服、某句话、谁说的、不该说的、做了什么、没做什么、“我恨你但我离不开你,所以我要折磨你,你要跟我一起活在地狱里”。也许,那是某种最深沉的爱,只是我不懂。当你爱一个人,你就和她一起下地狱。你陪她走过地狱。你和她一起疗愈。你照顾她。你等她。因为你知道,你见过。

就像Zoe Kravitz导演的处女作《Blink Twice》那样,我相信那是好莱坞一直在发生的事——一群强奸犯聚会一起施暴,女人们被下药或被折磨。这就是有钱人的聚会。没人觉得有什么问题。

电影里,Naomi Ackie和她的朋友在一场宴会上被亿万富翁Channing Tatum随机邀请去小岛度假。她们去了岛上,然后开始不停地派对、喝酒、抽烟、开心,不知道过了几天,直到有一天,她突然记起晚上发生的事:强奸、枪击、折磨,一切会在第二天早上被药物抹去记忆,只剩下白天的“美好”。这就是我一直以来的感觉。

你怎么能在看到晚上发生了什么之后还继续在这里狂欢?你怎么能在知道自己被那样对待之后还说得出“开心”?而那一切,还是他们故意、为了取乐地做出来的?这一切的扭曲让我作呕。我脑子里一直忘不掉那部电影,到现在都还忘不掉。这不是派对,这是地狱,是活生生的地狱。

那就一起受苦到死吧。你会在这里、直到落幕。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©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 2023, 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,23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。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©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 2023, 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,23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。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©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 2023, 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,23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。