The Melbourne Documentary Film Festival 2018 - Dream Empire
Yana is a 24-year-old rural migrant who recently arrived in Chongqing to pursue her “Chinese Dream.” Drawn by the easy riches of China’s historic real estate boom, she opens a foreigner rental agency designed to help real estate developers market their new developments. This business takes a dubious turn as her foreigners are increasingly used in a surreal effort to turn remote ghost towns into “globalized cities” on the days that outside investors visit. When the inevitable happens and the real estate bubble starts to pop, Yana is forced to sell her company and reassess everything she ever believed in. Filmed over several years, DREAM EMPIRE is at once a gripping personal story and rare on-the-ground chronicle of one of the most critical economic issues of our time.
Interview with Director David Borenstein
Congratulations! Why did you make your film?
I wanted to make a film that encapsulated the brutal and absurd qualities of the Chinese housing boom. The boom was the largest building boom of all time – a momentous human endeavor that dwarfs the building of the pyramids. But what kind of collective imagination fueled the boom? What was it like for the average person living through it? The answer that I found was equal parts triumphant and Kafka-esque nightmare.
Imagine I’m a member of the audience. Why should I watch this film?
You should watch this film if you are interested in urbanism, China, or have a predilection to contemplate the often insane nature of global capitalism. You should also watch it if you are tired of documentary filmmaking's pretense of "capturing reality" and want to take a trip to the dream-like and surreal.
How do personal and universal themes work in your film?
I attempt to draw inspiration from authors and filmmakers who focus on the complex relationship between individuals and their societies. The main character in Dream Empire is portrayed as a small part in a much bigger system: a giant housing boom that was equal parts absurd and brutal. This is partly accomplished through editing in a way that is constantly shifting perspective from very big to very small.
How have the script and film evolved over the course of their development?
The script went from being multi-character to featuring only one main character.
What type of feedback have you received so far?
It has played in 40+ festivals and spurred lots of interesting discussion, but I am most intrigued by the feedback from China, where it achieved a viral recognition that I don't believe many other China docs directed by foreigners have achieved. It popularized a phrase in China, "white monkey", that seems to have had a lasting impact on Chinese discourse. Audiences there appreciate directors who attempt to learn Chinese and have long-standing relationships with the country. That's how it should be.
Has the feedback surprised or challenged your point of view?
The Chinese feedback was more centered on Chinese identity and their perception of "foreignness", and less about the housing bubble than I would have expected. But it does seem to make sense in retrospect as it is quite a prickly subject.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I hope for as many people to watch it as possible.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Any help we can get in amplifying the message is welcome.
What’s a key question that will help spark a debate or begin a conversation about this film?
"What is the future of capitalism?"
What other projects are the key creatives developing or working on now?
I am now working on a creative film about how the internet is changing human culture and the way we experience our basic emotions. I also routinely direct and line produce TV in China. The producer Jesper Jack produces multiple films a year from his office in Copenhagen. Lars Skree continues to work as one of Europe's premiere cinematographers.
Interview: July 2018
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DREAM EMPIRE
Yana is a 24-year-old rural migrant who recently arrived in Chongqing to pursue her “Chinese Dream.” Drawn by the easy riches of China’s historic real estate boom, she opens a foreigner rental agency designed to help real estate developers market their new developments. This business takes a dubious turn as her foreigners are increasingly used in a surreal effort to turn remote ghost towns into “globalized cities” on the days that outside investors visit. When the inevitable happens and the real estate bubble starts to pop, Yana is forced to sell her company and reassess everything she ever believed in. Filmed over several years, DREAM EMPIRE is at once a gripping personal story and rare on-the-ground chronicle of one of the most critical economic issues of our time.
Length: 73 min
Director: David Borenstein
About the writer, director and producer:
DAVID BORENSTEIN is an American director currently based in Copenhagen. He has directed films for ARTE, Al Jazeera English, Horisonts, NYTimes, with more underway. He was a cinematographer and Producer for the Sundance-funded film “The Hand that Feeds,” winner of the audience award at the Full Frame Film Festival. A China scholar, he received PhD training in Anthropology at City University of New York. He began developing CHINA DREAMLAND while on a Fulbright scholarship in China, studying urbanization and real estate speculation. David speaks fluent Mandarin Chinese.