《海妖》是朱日坤的最新纪录作品。视频以具有争议性的视频作者吴昊昊为主角，展示了他对情感、性、家庭、社会、政治和历史的态度和观点，体现了中国新一代人互相矛盾的个性特征，也预寓着这个国家的未来。视频的英文名No Desie to Hide似乎更强调的是人的欲望。
《海妖》将在2021年10月底举办的捷克Ji.hlava（吉哈瓦）国际纪录片电影节上参加国际竞赛。吉哈瓦是东中欧最大的国际纪录片电影节之一，今年是其25周年，最早由一群高中生创办，本届影展将有300部来自全球的纪录电影放映。
The film shows the ordinary lives of young people in China, with all their romantic problems, unfulfilled dreams and existential crises that are interwoven into everyday dialogues and conversations with the director. The two central protagonists try to function in an open relationship, which suits only one of the partners, while the other suffers and longs for a family life. The possibility of emigration to America is a hope, but it is gradually receding due to the worsening political situation. The camera captures even the most intimate moments and puts the viewer in the position of a voyeur observing the exposed bodies and souls.

„There is very little space for Chinese independent films these days. For big film festivals in western countries, they don't pay attention to the small budget films as they look less industrial.“ (Zhu Rikun)

查房。

十年前，西藏作家唯色因为在文章中如实描写她观察到的西藏现实，被官方认为有政治问题并拒絶改正，开除了她的公职。此后她坚持独立写作，为藏民族的艰难遭遇发声，特别在2008年的西藏事件和藏人自焚不断发生后，她的文字和博客成为世人瞭解西藏的一个重要途径。但是在获得荣誉的同时，她的生活和自由也面临严重的干扰。
我们意外获得的一份唯色的官方档案，成为这个影片的主要内容和线索。在这份枯燥、冗长的档案中，一个本来应该按照官方路径塑造的中国共产党的事业的接班人和螺丝钉，却在现实中偏离了这个预製的轨道。她获得自由了吗？

在中国的一个工矿区，人们受到肺部疾病的影响，导致死亡。这部电影创造了一条连接这些生命的通道，他们要求被拍摄和记录，以讲述他们的故事。他们从未停止过斗争，通过图像的方式, 找到并认识了彼此。

西藏作家唯色因為在文章中如實描寫她觀察到的現實，而被官方認為有政治問題。唯色拒絕接受審查，被開除了公職。按照預定程序和路徑，唯色本來應該是紅色事業的“接班人”，卻在現實中偏離了這個預製的軌道。她堅持獨立寫作，為藏人所遭受的迫害發聲。獲得了認可和榮譽的同時，她的自由也經常收到嚴重的干擾。

意外獲得的唯色的一份官方檔案， 成為這個影片的 主要內容和線索，探索了她的過去和現在，以及一個民族所面臨的困境。她能獲得自由嗎？

Ten years ago, Tibetan writer Tsering Woeser’s efforts to document and present the reality of Tibet was considered a “political problem” by the Party-state. She was fired from her job when she turned down the “request” to confess and correct these “problems”. Since then, she has persevered as an independent writer, and has continued to speak out for the sufferings of Tibetan people. Ever since the disturbance in Lhasa took place in 2008 and as the number of self-immolations among Tibetan people has risen dramatically, her writing and her blog have become an important channel for the world to see Tibet. But despite being acknowledged for her efforts, her personal life and freedom have been seriously disturbed.

As an unexpected event, we came into possession of Woeser’s official dossier which then became the main thread of this film. Through this lengthy and dull dossier, we see how a supposedly well-shaped screw and successor of the Chinese communist cause went off the premade track in reality.

Has she obtained freedom?

A black screen. Four voices are heard. Two men are telling and repeating to two others that they are “welcome to the region”. Gradually, the situation becomes clearer: the filmmaker, Zhu Rikun, is on a shoot in Sichuan. His interest is in the lung diseases that plague the region’s workers, a health problem already present in his film Dust and which the Chinese State is trying to hush up. So here he is, invited to a brief interview with the local authorities, which is audio-recorded and played back in full in the film. A raw document that bares the methods of power: the insistence of the censors, their successive changes in strategy ranging from sugar-coated threats to the express demand that the images be destroyed, which only fuels the desire to bear witness even further.

A black screen. Four voices are heard. Two men are telling and repeating to two others that they are “welcome to the region”. Gradually, the situation becomes clearer: the filmmaker, Zhu Rikun, is on a shoot in Sichuan. His interest is in the lung diseases that plague the region’s workers, a health problem already present in his film Dust and which the Chinese State is trying to hush up. So here he is, invited to a brief interview with the local authorities, which is audio-recorded and played back in full in the film. A raw document that bares the methods of power: the insistence of the censors, their successive changes in strategy ranging from sugar-coated threats to the express demand that the images be destroyed, which only fuels the desire to bear witness even further.

安妮是一个10岁的中国小姑娘。2013年，她转学到中国合肥市的一个小学不久，被秘密警察从学校带走，不允许她继续在这个学校上学。因为她的父亲是一个被政府监控的异议人士。政府借控制安妮的上学来禁止他的父亲迁移。

安妮是一个10岁的中国小姑娘。2013年，她转学到中国合肥市的一个小学不久，被秘密警察从学校带走，不允许她继续在这个学校上学。因为她的父亲是一个被政府监控的异议人士。政府借控制安妮的上学来禁止他的父亲迁移。