This installation draws inspiration from a sense of loneliness under the influence of urbanization. Moreover, the color composition lends specialities from HongKonese director Wang Kar Wai’s Happy Together (1997, HongKong) and 2046 (2004, HongKong), both of which are rich in color saturation and exemplary of cinematic modernism.

The primary focus of this project not only waltzes between the relationship of a female perspective and the city, but also seeks to explore the tension of loneliness and longing to love. For instance, at 0:30, a shot of a couple from a visible window starts to zoom in; it’s a self-conscious shot whereas the craving for intimacy is both desired and resisted.

In addition, multiple subjects objectifying the will to unleash (incense, cigarettes) brought contrast to the formerly implied confinement. The dancing scene starting 1:34 directly descends from Wang’s aesthetics of Happy Together (1997, Hongkong)— a film about relationships and intimacy, which resonates with my project but with a contemporary touch of atmospheric/alternative background music. Conclusively, my installation is meant to provide audiences with a glimpse into a person’s wandering about loving and losing but transcends to a representation of modernism.