What makes it possible for us to capture various perspectives in thousands of events in Asia, by displaying various journeys as part of reality? There are many Asian films with unique perspective to describe their society closely. Through dynamics in China and Japan, for example, with strong narratives and charming characters.
The two films in “Fragmen Kecil Asia” are small pieces of the many ways to see Asia through the phenomenons in their society. Through Danchi Woman (2018) that intimately captures the sense of humor in Shizu, we trace the story of an 85-year-old woman. She sorts relics of her past; memories that she will keep and that she can let go. Or more precisely she must let go, because inevitably she has to leave the memories in danchi, a kind of cheap dwelling, which she must have lived in for three decades. Then start a new chapter in a new place at the age that is not young at all.
Meanwhile, in the Dafen alleys, with a population of 10,000 people, hundreds of farmers change their careers into oil painters, producing thousands of replicas of Western paintings in the film Dreaming of Van Gogh (2007). They succeed in producing stunning works. The village seems to be the starting point for them to become artists: pursuing dreams with tight deadlines. Through the character Xiaoyong Zhao and his family who has painted around 100,000 Van Gogh’s paintings, Yu Haibo and Kiki Tianqi Yu tried to capture the relation between Zhao and Van Gogh. A relation that only exists in Zhao’s head and paintings, until when he finally visit the Van Gogh Museum in Amsterdam.