Shu Ling is the top designer of shading pleats and layers for theater curtains in China - this unpopular profession has no more than 20 practitioners nationwide. She can control the wrinkle density of the three-layer blackout cloth to millimeter-level errors, allowing the stage to achieve the ultimate dark field with "no stray light in the entire scene."
Three years ago, she and her drama club's golden partner Gu Yanzhi parted ways due to their plans for graduation. Three years later, she took over the new theater curtain system project, and the co-director designated by Party A was Gu Yanzhi.
During the first reunion, he requested that the folds of the curtain be unevenly dense and "breathing"; she insisted that the shading standards should not be compromised. The collision of technical concepts revealed the old wounds between the two that have never healed - every time the curtain is raised and lowered, the folds become irreversibly deformed, just like the traces of the pull between people.
From light leakage crises to fabric fatigue, from budget wars to permanent deformation, they repeatedly get closer and further apart between the curtains of a theater. It wasn't until the last curtain closed that Shu Ling understood: some wrinkles were not flaws, but places where light penetrated.
