猪离开了它的外套 Lie Wilderness(2013)
演员：
影评：
- 猪离开了它的外套——电影说明书（超不现实主义电影）
Pig has left its coat——movie instructions (super unrealism film)
实验剧情：存在与剧情电影和实验电影之间
experimental plot: exists between feature film and experimental film.
人类有两种现实：一种是想象的现实、一种是真实的现实
人类臣服于真实的现实、受制于想象的现实
我想这算是一种我自己的实验、或许只对我有益。我把我的电影称之为实验电影。
从故事到拍摄手法和观念。
Humans have two kinds of realities: one of them is imaginative reality ,and the other is real reality
Humans yield to real reality, and subject to imagine reality.
I think it can be seen as my own experiment; maybe it just benefits myself. I call my film as "experimental film".
The techniques and opinions From stories to shooting.
我的标准：我只要求至少有一种可能性在里面
这种可能性可能包含不现实的可能、现实的可能、超现实的可能，想象的可能、自由的可能。
除去所有不现实的可能就只剩下了现实的可能。
当我们不是陷入三个人的困境、就陷入了两个人才有的困境、最后变成了一个人
电影是人本身的迷失、是人对自己的探索。
My standard: I just ask for at least one possibility inside.
This possibility may include unrealistic possibility、realistic possibility、super-realistic possibility、imaginative possibility and freedom possibility.
Except all unrealistic possibility, there is only realistic possibility.
When we aren't trapped into the dilemma of three people, we will be trapped into the dilemma of two people. At last, we become one person.
Movie is the lost of human themselves, the exploration of human to themselves.
我认为的现实是现实事件和心理幻觉的同时存在
每件事一旦降临在我们身上就个人理解化了
我所认为的真实必然是现实事件和心理感受同时存在的，理性和感觉同时起作用的矛盾感受。我认为幻觉和虚幻是现实和真实的一部分补充。
所以我的这个电影不对一些只想看现实电影和纪录片的人的胃口。
其实现实剧情电影也只是一种伪现实，是一种暧昧的模仿现实的东西，表达作者的作者现实，而非绝对现实。
I think reality is the existence of real events and psychological illusions at the same time.
Once a thing happens to me, it will become somebody's personal understanding.
The reality I believe is where real social events and psychological feelings exist, both ration and feeling work. In my opinion, hallucination and illusion is an addition and part of the reality.
So, I think this film is not suitable to those who are fond of realty film and documentaries only.
In fact, the real feature film is just a kind of false reality, is just an ambiguous imitation of reality. It was meant to express the reality in author's eyes, not absolute reality.
“电影是种暧昧的存在，它越像现实，就越暧昧。”丛峰说。
这种电影暧昧感和我们的现实经验有很大关系，因为我们有享受现实经验乐趣的习惯性。
我说“怪不得我的超不现实主义电影入不了围，是因为没有狠狠玩暧昧”这他妈的真的和谈恋爱一样，但随之它成了一种习惯消费、也可能变得又有型了。（类型?）
"the film is an ambiguous existence. The more it is similar to reality, it is more ambiguous." said Cong Feng.
This feeling of ambiguity is close related to our reality experience, since we are used to enjoying the happiness of real experience.
I once said," there is no wonder my super unrealistic film was turned down, maybe that's because I didn't make my film ambiguous to death." It is just like falling in love. However, it gradually becomes a consumption of habit, even has more style.
我的这种超不现实主义的做法是用“幻觉幻想非理性”做现实的完整补充，表达我自己认为的现实（作者现实）
它将不受喜欢写实电影的人的喜欢，也不受喜欢纯属虚构电影的人喜欢。
This kind of unrealistic style is a complete addition to replacing the reality by illusion. I was trying to express the reality in my eyes. (the author's reality)
It won't be liked by those who are fond of realistic film or dislike completely unrealistic film.
“孩子们之间的事”这个元素在我电影中的意义
"Things between children"--what this element means in my films
有人认为我的电影中频繁出现孩子这个元素是我对童真的怀念或者童年情结在起作用
事实上我试图用孩子这个元素做一个人原始本真的表达、这是一种方式，和我的个人情结毫无关系。
如果我有情节的话也是AV情结，童年的时候我就已经有AV情结了：如幻想摸同班的小女同学奶子之类的。
我认为很多人仍然是孩子，在这个社会里，成长是一件困难的事，大部分成人事实上是一种伪装，实质仍然是一个孩子，比如说魏晓波导演的自创歌曲中有这样的歌词“全都是孩子、全都是孩子”，我想这是在说社会里大多数人没有真正成熟的机会。
Some people think the reason why children exist in my film frequently is the nostalgia and obsession for my childhood.
In fact, I was trying to use the element of children to achieve the true and primitive expression--as a person. This a kind of way, having nothing to do with my personal obsession.
If I really have obsession, maybe it is AV obsession, which I have had since I was a child: such as having intimate contact with girl classmate' breast.
I think most of people are still children. In our society, growth is a difficult thing. Most of adult is a kind of disguise, who are really children inside. For example, just like the lyrics in the song created by Director Wei Xiaobo himself," all are children. All are children." What I want to sat is most of people in our society have little chance to be really mature.
我不介意笑场和穿帮的表演
I don't care the performance full of laugh and goofs
我一直在考虑如何把“假”放大和有趣放松的使用，“假”是我在剧情片方面的一个方向
关于演员我甚至鼓励和放大他们不正常的表现，以此来制造虚假的电影，适当的提醒观众这假。直到观众不再在乎是否是假的电影。据我看大部分的电影都很假，只不过普通观众看不出来了而已；当假成为一种风格之后，假就失去了应有的代表缺点性质的意义。
假、没有什么好说的和了不起。
I was always thinking about how to use the amplification of "the unreal" and the relaxation. "the unreal" is a direction in my feature film. As for the actors, I even encourage and enlarge their abnormal behaviors in order to produce false film and remind the audience of "the unreal" till they don't care whether it is true or not. When "the unreal" becomes a kind of style, "the unreal" has lost its meaning of shortcoming which it should have.
"The unreal" is nothing to talk and show off.
这个世界是相同的，但我们每个人看到的是不同的，会痛是相同的，电影是不同的。
This world is different, but we everyone see is different. The fact that we can feel pain is same. The film is different.
为什么会如此？除去角度还有身份、环境、历史、催眠我们的风、体质、幻觉想象梦等的不同
Why? Apart from the angle, there are also differences in the identification, the environment, the history, the wind that mesmerizes us, the constitution, the illusion and imagination etc.
所以我们的认知和看到的便不同。
That's why what we know and see is different from each other.
我不打算满足观众的诉求 也并非为了达到电影工业的标准
从传统剧情电影看这不是部负责任的电影，是部自以为是的电影
我是在满足我自己的表达欲
I have no intention to appeal to the audience or to achieve the standard of film industry.
From the angle of traditional feature film, it's not a responsible film. It is a proud film.
I was to satisfy the expression desire of myself.
《猪离开了它的外套》花费很低，无法计算，启用几十个临时演员，聚餐个位数。
导演剧本摄影剪辑都是我，所有十分的作者现实电影。
在这样低成本的屌丝制片的情况下，我不可能去追求电影工业的标准。
当然这也不是我热衷做的事，我比较热衷于人类思想的乐趣。
Pig has left its coat this film cost so little money that we couldn't figure it out. We hired dozens of actors and the chance of eating out together was less than ten times.
I was responsible for the directing, the script, the photograph and the film editing. It is really a author realistic film.
In the producing condition with so little cost, it is impossible for me to persue the standard of film industry.
But it surely is not what I am interested in doing. Compared to this, I like the joy of people's wisdom better.
2010年拍摄了这部电影，2011进行了少部分补拍，我个人乖张的一点是还没玩够，就是暂时还想继续享受电影的自由和探索感受，所以这并不是一部迎合观众和普世价值观的电影。
因为个人经验和观念的如此不同，这肯定是一部普通观众费解甚至无法理解的电影。
在我以后腐朽的电影作品中我可能会缩减和有效改造这种纯粹。
I shot this film in 2012 and made some addition in 2011. Where reflects my personality is I haven't enjoyed myself enough and still wants to enjoy the freedom of film and the feeling of exploration. So, it is not a film which intends to appeal to the audience and universal values. It is certainly a film that ordinary audience fail to understand, since mt personal experience and thoughts are so much different from other people.
In my later corrupter films, I may reduce and effectively change this kind of purity.
我一直希望在拍摄、剧情和剪辑方面都有我要做的乐趣和欲望。取悦我自己。
我的借口是我在做实验。
I was always hoping to have my own joy and desire in shooting, plot and film editing. I was to satisfy myself.
My excuse is that I am doing experiments.
我的电影内容是讲什么的？
我在描绘一个生活在煤矿的人梦般的短暂的生命历程，束缚和烙印、逼迫和觉悟、各种力在他身上相交，塑造他歪曲他、他抗衡，用时间、用肉体、用梦。
这个时代。
What does my film want to say?
I was describing a short and dreamlike life period of a person living in the coal mine. The restriction and brand, the push and realization, all these forces intertwined on his body, shaping and distorting him, with time, body and dream.
故事简介(brief introduction of the story)：
矿上有一户人家的客厅藏着一个盒子，会跑的盒子，盒子里装着光。两个孩子在追逐的游戏中捕捉到了这个盒子，这个盒子自己影射着各种影像的碎片， 让人难以理解的盒子自己做的梦： 小杨的父亲在一次矿难中死去，但父亲留下的阴影挥之不去，这种恐惧深深地埋在了母亲和小杨的心中；在煤矿深井下的小屋内住着一个双头教师，两个小混混为小杨带路；等待他的是一个似曾相识的很难的脑筋急转弯！
There has been a box hidden in a family’s living room on the mine. A box with light inside can run by itself. Two kids caught the box when they were playing chasing games. The unreadable box alluded varies fragments of video and had its own dreams:
Xiaoyang’s father died in a mine disaster. However, the shadow lingered all the time and the dread buried in his mother and his mind; There was a teacher with two heads living in the room under the deep mine. Two guys led Xiaoyang’s way. What’s waiting for him was a familiar ,but difficult riddles.
导演阐述
阐述：
1电影不是真实，全是梦境，我希望在“假”和“不现实”中寻找真实的存在
2地点：中国、煤矿、少年的主观世界
当你生活在这样一个世界里，你发现你醒来也不过是进入另一个梦境。
2斗殴、看不见的规则、阴道、矿洞、恐惧、对自己看不到的空间的无法想象，局限的世界和想象力，被神秘的力量引导控制，还停留在这个地方的童年就像是一场噩梦。
3关于恐惧的圈套
一个一心想逃跑的猪，环境抑制它的生长——学校、同龄人、死去的父亲、以及魔鬼、它的母亲带着恐惧想它回到子宫，最后和他的姐夫联手把它送交了当地的子宫，它开始退化、最终子宫无法全部消化它，吐出了它，但母亲已经不认识它了，它开始漂泊。
4我从生活和我的体液中提取了这部电影，它就像一个新的物质带给了我新的启示、像碳和木头组合成了铅笔一般。原材料我用了极端的主观和冷漠的旁观两种视角，接着我尝试用童年的“局限的想象”组织这个电影的世界，最后我在考虑怎么使用这个铅笔。
Elaborate
1 movie is never real,and always a dream.you can only find a real existence in its deeper.when you living in this kind of world,when you wake up you will find you just into another dream.
Place: a teenager's personal world, a coal in China.
2 fighting, invisible rules, vagina, mine, fear, the imagination of the space that I can not see,limited world and imagination. All these kind of things are controlled by mysterious power.The childhood which stays here is just like a nightmare.
3 The trap of fear
A pig that just wants to escape, whose environment restricts his growth--the school, the pupils, the dead father and the ghosts. His mother wants him to get back to the womb and sends him to the local womb with his brother-in-law. He begins to degenerate. Eventually the womb can not digest him completely and spits him out. However, his mother cannot recognize him, so he begins to drift.
4 I extracted the film from my life and my body fluids.it was like a new material which brought me a new insight, just like carbon and wood combined into a pencil. As for the raw materials, I used the extremely subjective and cool onlooking these two perspectives both.Then I tried to use “limited imagination” of childhood to organize the world of this film. Finally, I was thinking of how to use the pencil.
PS (postscript)
超不现实主义——纪录、现实主义、超现实、幻想（不现实主义）、符号、等多种方式的混合，还原模拟现实的摆拍仅仅只成为一种制造素材的方式。
现实主义强调理性、超现实主义强调非理性，超不现实主义是理性和非理性的尝试混合。
Super unrealism--the mixture of record, realism, super realistic, illusion(unrealism), signals etc.
The shoot of restoring simulated reality is just a way to manufacture materials.
混合现实主义——纪录素材、摆拍现实素材 即写实剧情和纪录的混合
Mixed realism——record source materials 、shot realistic materials ——realistic plot and record mixture
作者现实——现实主义电影里描述的现实均为作者现实，因为电影里的现实均为模拟现实，是作者所感知和认为的还原现实。
Writer realism——which realistic films describe. Because the fact in the film all are simulated facts.
PS：本文只代表作者于2012年8月的 观点。
作者有随时推翻此理论和文章观点的权利。
(This paper just stands for Writer's opinion in August 2012. And the writer have the right to overthrow the theories and view at any time.