導演/Director : 李詩芸

本片改編于越劇《孟姜女》。相傳秦始皇時，青年男女范喜良、孟姜女新婚當天，新郎就被迫出發修築長城，不久因長城工程坍塌而死，屍骨被埋在長城牆下。孟姜女身背寒衣，歷盡艱辛，萬里尋夫來到長城邊，得到的卻是丈夫死去的噩耗。她痛哭城下，三日三夜不止，城為之崩裂，孟姜女於絕望之中投海而死。 作者透過此次創作挖掘一種中國傳統藝術與當代審美藝術共通的語言，古今對話，探尋一條傳統與現代相契合的路。設計不是耍花腔，而是挖掘事物的本質並彰顯其本質。當代社會是個多元混雜的社會，過於傳統的藝術似乎已經不足以吸引觀眾了。所以，設計師的任務就是去提取精髓並展現給大眾。

The film is adapted from a Chinese historical story “Meng Jiangnu's Bitter Weeping.” The story happened in Qin Dynasty. On the wedding day of Meng Jiangnu and her husband, the husband was forced to leave home for constructing the Great Wall, and shortly he died as a result of an accident in the construction site. His body was buried under the Great Wall. Meng Jiangnu made effort and managed to travel for a long time. Finally she arrived at the Great Wall. On hearing the death of her husband, she cried for three days and nights in a row. She cried so hard that the noise of grief even tore down some parts of the Great Wall.The filmmaker explores a common language between traditional Chinese art and contemporary art. In the conversation of Past and Presence, the filmmaker paves a path for tradition and modern. Designing is not showing off, but dipping down the core of something and reveal the essence of it. Modern society is diverse and chaotic, and traditional art sometimes failed to attracts audience. As a result, a designer’s job is to display the essence to audience.