While writing this story, I often thought of Simone de Beauvoir's words: "Women are not born, they are made."
Su Liuli's twenty-three years were a process of "becoming":
Become a star and then no longer be satisfied with being a star;
Become an actor, and then be more than an actor;
Become a director and then become more than a director;
Finally, become a complete, free and powerful person.
The detour she has taken is an experience shared by many women:
Lost in the expectations of others, broken in malice, rebuilt on the edge, and returned in creation.
I hope this story can be like a beam of light——
Not the dazzling spotlight, but the gentle little lamp on the table when writing late at night.
It has illuminated my keyboard, and I hope it can illuminate some of your moments.
We are all on the road to becoming.
Intent: This is a story about "self-pursuit" and "industry awakening". Through Su Liuli's life trajectory from the age of fifteen to thirty-eight, I would like to explore several propositions: 1. The imprisonment and escape of labels: from "fairy sister" to actors and directors, how do women find their right to name themselves in the roles assigned by society. 2. Deconstruction of power: from being selected by capital to choosing capital, from being defined by discourse to defining discourse, how individuals establish subjectivity under systemic pressure. 3. Transformation of harm: Internet violence, industry strife, gender discrimination - how can these harms not become the end, but the starting point of awakening? 4. The symbiosis and separation of mother and daughter: The changes in the relationship between Su Wan and Liuli are a microscopic sample of the Chinese parent-child relationship - control, dependence, rupture, reconstruction, and finally moving towards equal companionship.