In its 38th year, BFI Flare: LGBTQIA+ Film Festival in London shines with its programme yet again. Apart from big names and films on the menu, the festival also included little gems from the Asian continent, and Two Suns is one of them. Written and directed by Yuqing Lai, the short film, characterised by its mystical analogue style, not only captures the old atmosphere of a film made on film but also directs the storyline with grace and creativity. 

Just ahead of the film festival, we sat down with Lai, who uses she/they pronounce, for a chat during which she shared her preference for the tactile quality of Kodak film, as it enables her to capture the subtleties of emotion and the complexities of identity in ways that digital technology cannot replicate. In exploring the topics of love, identity, and longing, the director is keen on creating a space for introspection and empathy. 

View of the Arts: What inspired you to choose Kodak film for shooting Two Suns instead of digital technology?

Yuqing Lai: I actually have a preference for the texture of the film. I enjoy seeing the muscles and skin textures of people in film, feelings that digital technology cannot simulate. As technology advances rapidly, the information we see becomes too precise. For this story, the love between the two characters and Frank’s struggle with his identity is in a kind of ambiguous zone, and the texture of the film can help convey that.

VOA: Two Suns has that amazing mystical analogue style. How did you cultivate this atmosphere through your direction?

YL: During the production process, unexpected challenges and choices often arise in filmmaking. Rather than adhering strictly to a clear directorial vision to create the atmosphere, I tend to rely on intuitive choices that ultimately shape the film. When selecting my team and cast, we engage in discussions about the film’s style. Typically, I collaborate with each department to align on the aesthetic choices in cinematography, art direction, and performances. In the pre-production phase, we thoroughly discuss all details, including aspects that may go unnoticed or may not make it into the final cut.

During production, I place a high level of trust in my team, allowing them to excel in their respective roles. My focus shifts towards communication with the actors. I prefer letting them inhabit the scenes naturally, encouraging them to bring nuanced gestures and actions that belong to the characters. These details contribute to the creation of magical moments in the final product. In collaboration with my editor, Hugh, and my mentor, Paul, our working style is quite organic. We continuously explore possibilities within the footage, allowing for spontaneity and creativity. This approach has proven to be beneficial in bringing out the best in the final presentation.

VOA: The film uses minimal dialogue and relies heavily on intrusive shots. Could you elaborate on your decision-making process regarding this visual storytelling approach?

YL: Given the short film format, I place a strong emphasis on showcasing my own visual style. Film is ultimately an art form centered around visuals, and at times, the camera and actions can convey more than explicit dialogue. I highly value performances, so during shooting, the camera often serves as a documentary, capturing the characters’ lives and the spontaneous reactions of the actors. These moments, where the actors and characters overlap, are, in my view, more genuine and precious. I believe in the power of silent moments, as they can be more authentic expressions of the human experience than overtly verbalised scenes.

VOA: The vivid red bokeh light plays a significant role in the film. Can you discuss its symbolism and how it enhances the narrative?

YL: Indeed, the red bokeh light can symbolise various concepts, depending on the audience’s interpretation. Throughout the film, the colour red is omnipresent, whether in the theatre, on the bed, or in the car. In the film, red signifies blood, wounds, and an intense, sun-like love. When we gaze at this red hue or red sphere, we are essentially joining Frank in looking at his two selves, observing these two lovers (“when I love you as I love myself, even more”), and witnessing the overwhelming and unrestrainable emotions, including the intimate pleasures and pains. Perhaps, what we are also looking at is the sun, God, or an unresolved past that refuses to be forgotten.

VOA: The intimate scenes between the characters in Two Suns are portrayed with tenderness and purpose. How did you approach filming these moments to ensure they served the story authentically?

YL: Thank you for acknowledging these scenes. Intimate moments are perhaps the most effective in portraying the complexities of a romantic relationship, visualised through physical expressions. Particularly in the film, many of the struggles between the two characters stem from the ‘physical.’ During the shooting process, initially, I discuss and confirm with the actors their thoughts and emotions regarding the relationship in these scenes. While most of our actions are based on the script and discussions, the subtle reactions exchanged during the performance fundamentally rely on the trust between the actors and their belief in the script’s narrative and characters. Additionally, I have complete trust in my cinematographer’s ability to capture these moments, connecting with the audience and breathing together with us.

VOA: Both Colin Ren Hang and yourself delivered stellar performances in the film. Can you share any insights into your collaboration as co-stars and how it influenced the on-screen chemistry?

YL: We actually met because of this film, and interestingly, during the casting process, I found myself hesitating between him and another actor. In the end, relying on intuition, I chose him. Originally, I had intended to cast someone else for the role of Sinan, but due to the lack of a perfect fit, after discussions with my executive director, I decided to take on the role myself.

Before the film shoot, we conducted numerous rehearsals and off-set, we shared meals and drinks, engaging in extensive discussions, including emotions. I prefer to reduce limitations on actors after they’ve gained a sufficient understanding of their characters, allowing for more intuitive performances. Hence, before shooting began, we already had a mutual understanding and trust, both in ourselves and in each other as the characters. He is a very sensitive person, always quick to perceive the emotions of those around him. Coming from a directing background himself, he swiftly grasps my expressions but, at the same time, respects my ideas. Another actor, Corina, who played the massage girl, often surprised each other with unexpected improvisations, resulting in more authentic reactions. This mutual trust is crucial, both among the actors and between the actors and the director. I am delighted to have had the opportunity to collaborate with them in this way.

VOA: The film touches on identity struggles and the impact on long-term relationships, particularly within the LGBTQIA+ community. How important was it for you to address these themes, and what message were you hoping to convey?

YL: Because my self-identification is queer, I’ve undergone numerous conflicts between self and society in terms of gender and sexual orientation awareness. Throughout this journey, I’ve encountered many individuals from the LGBTQ community, some of whom have become close friends. When delving deep into self-exploration, I’ve found that even though we have different stories and varying self-awareness, the experiences that resonate most deeply with us often revolve around love. Whether it’s the complicated emotions with parents or partners, we all share a common struggle – the conflict between the expectations of our loved ones and our authentic selves. Yet, from another perspective, we forever cherish these complex emotions. Love is the central theme of all my creations, and I believe it is the only force that can transcend obstacles and foster empathy among everyone. In a world where many things are beyond our control, all we can do is embrace the present moment and remember it.

VOA: As a director, how do you navigate the balance between saturating each moment in storytelling and taking risks with pacing and narrative depth in short films?

YL: It’s quite evident that my story diverges from traditional narrative structures, lacking intricate plot twists or elaborate story details. As a creator, most of us are accustomed to feature-length films, but in my perspective, attempting to blend all elements into the duration of a short film is impractical. This doesn’t mean I disregard storytelling; rather, in this film, the narrative serves as background information. I chose to focus on the emotional dynamics that resonated most with me in this story, where every expression is crafted to unearth the emotions between the two characters, making the exploration of their feelings the central theme of the film.

VOA: Could you share any specific challenges or memorable moments from the filming process of Two Suns?

YL: Choosing to shoot on film from the outset was a risk, and many advised against it, citing its uncertainty. Fortunately, the final result aligned with my vision. The production process didn’t encounter significant issues, as most were addressed during the pre-production phase. However, inevitable challenges arose, such as one actor contracting COVID, location cost concerns, and some issues with shooting permits, but everything was resolved. Of course, budget constraints remained a constant challenge throughout.

From a creative standpoint, the most significant challenge for me was in the post-production editing phase. I was always concerned about whether there could be a better version and whether we maximised the film’s potential. The most memorable moment during the filming process was the shooting of the final car scene, as well as our last scene before wrapping. It took place in the early morning in Los Angeles, featuring a richly emotional scene with a group of dedicated collaborators ensuring everything ran smoothly. They safeguarded my well-being, offering maximum trust and creative freedom. The feeling is unforgettable. When everything concluded, and hugs were exchanged with everyone, it felt immensely worthwhile.

VOA: Lastly, what future projects are you working on, and can we expect to see similar themes or stylistic choices in your upcoming work?

YL: I have recently finished editing my new short film, First, Second, Third. It tells the story of a gay couple in Toronto, sharing a similar style with Two Suns but with a more liberated and joyful tone. Simultaneously, I am developing the feature-length version of this short film, titled The Longest Winter. I am also working on a feminist story set in China. My creative work predominantly revolves around the LGBTQ+ community and women, often exploring the complexities of human emotions. I welcome anyone interested to inquire about potential collaborations.

Written and interviewed by Maggie Gogler

38th BFI FLARE: LONDON LGBTQIA+ FILM FESTIVAL 2024 Takes Place 13 – 24 March at BFI Southbank and on BFI Player 

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