A Marble Travelogue
Sean WANG
The Netherlands, Hong Kong, France, Greece〡2021〡Color〡99 min〡Mandarin, English, Greek, Frenc〡Taiwan Premiere
✧ Frontlight, International Documentary Filmfestival Amsterdam 2021
✧ Highlights, CPH: DOX, 2022
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With a light touch and wry humor, A MARBLE TRAVELOGUE portrays the Greek and Chinese marble production chain that runs from capital to manufacturing, wholesale, retail and consumer. A piece of white marble stone mined in Greece takes us on its Odyssey along the global consumption driven by the Chinese domestic market, to investigate the role of China as the “world’s buyer.” The film makes complex connections and highlights the European aspirations of the Chinese middle class in a visually seductive style.
Director
Sean WANG
Sean WANG is a Hui (a Muslim ethnic minority) Chinese filmmaker born in 1991. He is now based in Beijing and Amsterdam. After graduating from Communication University of China and Beijing Film Academy, he is currently studying in University of the Arts Utrecht for MA of Fine Arts.
His debut documentary film LADY OF THE HARBOUR was nominated for the Best Dutch Film Award at IDFA 2017 and was selected at One World Prague and EIDF and more. His second feature-length documentary A MARBLE TRAVELOGUE was nominated for the Best Dutch Film Award at IDFA 2021. Besides, it’s also selected at more than 20 international film festivals such as Melbourne IFF, Visions du Reel, CPH:DOX, Hotdocs, Thessaloniki, DMZ and Art of the Real Lincoln Center etc.
11.07 ㊀ 10：30〡台南新光影城 4 廳
11.11 ㊄ 20：20〡台南新光影城 4 廳〡★ Q&A session with the Director
Buying Tickets
一塊大理石，透過產業化的流程，穿越希臘及中國，成為一個奇觀化的符號。影片紀錄的不僅是物質及意義的複製、挪用及瓦解，也是流動於兩國貿易線之間的眾生相。視角獨特、鏡頭克制，人文氣質豐富又充滿詩意。
This is my second film focusing on stories between China and Central Europe. My first documentary LADY OF THE HARBOUR paints the efforts put forth by the Greek-Chinese to support refugees from Syria, emphasizing on the movement of people across the inland. A MARBLE TRAVELOGUE employs a broader view and focuses on the logistics of commodities under globalization. I hope to use stylized audio-visual representation to show the audience what the global system in which China is deeply involved looks and sounds like, from both microscopic and macroscopic ends of the spectrum. In this rigorous system, how power is transferred, how cultures are appropriate, and how individuals are trapped in the tides. At the end of the marble’s journey of transformation, the coronavirus and the new political situation have summed up this grand tour into a wistful retrospection.
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