一部具有庄周梦蝶东方美学的动画短片，一部关于东方女性命运轮回的前卫之作，一位来自南京毕业于纽约普瑞特艺术学院动画专业的中国留学生，以一人之力核心创作完成了这部名为《折枝》的二维动画短片。脑洞大开层层嵌套的梦中梦，辨不清现实与梦境，游离于真实与虚幻。极具东方特色的美丽女子如同虚空幻影，身躯舞动飘逸灵动至极，却始终难以摆脱背负沉重枷锁的宿命。她是观画之人，亦是笼中之鸟；她是画中端盘之人，亦是盘中之餐。

当不少人以为《脸庞，村庄》（2018）是华妲退休前最后杰作，她连奥斯卡终身成就奖亦袋袋平安，偏偏俏皮一笑，又交出这部活泼生猛的纪录片。由巴黎、洛杉矶到北京，马不停蹄开班分享创作理念，这位九十岁祖师奶奶不言倦，反正花样年华已被唤作「法国新浪潮祖母」，索性成为影坛万年青。 本尊娓娓道来启发《短角情事》（38 届）的好奇心，《拾穗者与我》（25 届）的细腻观察；至今不辍光影实验，不吝将艺术触觉传承。是为一生回顾展？言之尚早！

"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.
Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.
With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés.
In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further.
By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence."

一个老人，一个小孩，两场战争，一棵树。老人和小孩在河畔的树下相遇，分享共同的回忆和一个秘密。他们通过彼此找到了平和、寂静以及消失在潺潺河水中的时光。

九岁的Eunhee焦急地准备她的录音机考试，因为她努力在自己的家庭中找到一个位置。