Focus on AFI Conservatory - Miss Boundless
In the late Qing Dynasty, ZHANG (17) an ambitious girl born into a noble family, desperately wants to become as powerful as her father. After Zhang’s father names her male cousin as the next heir to their influential house, Zhang struggles to prove that she is the better successor. Faced with overwhelming odds due to the female oppression of the time, Zhang discovers that sometimes in order to gain power, one must take it.
Interview with Director Qiyu Zhou
Watch Miss Boudless on AFI Conservatory Film
Congratulations! Why did you make your film?
Once upon a time when I was in middle school, my parents asked whether they could have my permission to adopt my male cousin to be their stepson. I was shocked because it was 21 Century, and they had never shown me that they favor a boy more than a girl. I said no immediately. And they never asked again. But for a long while, this trifling conversation still got on my nerves every time I recall. I have heard that people prefer boys to girls in my hometown area. But only as a concept. This was the first time that this ideology was so close to me that gave me the urgency to tell a story about my grievance, and probably many other people's as well. It was the same setting in Miss Boundless, the girl has to prove to her father that she is a way better choice than her male cousin so she could wishfully be the key receiver of the house.
Imagine I’m a member of the audience. Why should I watch this film?
Miss Boundless is a very narrative driven, emotionally engaging short. You won't get bored watching it. It's not a self-indulgent short film. It was made to communicate with, and entertain the audience. Though it was made with passion with a very controversial ending, we wished to reach a rather broad group of viewers, aged between 15 to 50, so that the message can be heard by as many as possible. I would define Miss Boundless as a Disney movie that has the nuance of a cult film. The storytelling is as classic as a Disney movie, well-structured and engaging. However, the worldview and the demeanor of the main character is something possibly never seen in an Asian teenage girl on the big screen. You need to see it to judge it.
Last, but most importantly, Legendary star Russell Wong played the principal role in Miss Boundless. Not only his masterful acting is mesmerizing, but there was a fun fact that he managed to deliver all his lines in Mandarin by himself!
How do personal and universal themes work in your film?
My personal struggles against "common sense": favor boys over girls, in my hometown area, is something universal to many women or minorities worldwide. The constant struggle of viewing myself as a fighter is making me tired. I started to think why would I even need to fight, while some others are born with confidence, ego, and approvals from others. A couple of years ago before I graduated from college, one of my friends who worked in the industry told me that women need to be three times better than men to do the same job. I don't know if it's still true, but what she said expanded my mind.
How have the script and film evolved over the course of their development?
To be honest, while developing the script, there was a lot of anger, shame, and grievance from the bottom of my heart. I felt telling this story is like peeling old wounds. I was going to reveal what I wanted to forget to every single audience member who was meant to watch the film. However, writing this story also reminded me that these feelings were not meant to be forgotten. To acknowledge is not enough, only when we are allowed to discuss what we feel, we can receive just what we deserve. In this film the protagonist has done many things to show her unbreakable will. And as I write, I felt it was the character who led me to overcome my shame and fear.
What type of feedback have you received so far?
Most of the people loved it for the story is bold, truthfully honest, and very engaging. Some of the audience gave suggestions on the precision of the periodic norms, and the language use of the characters who live during the Qing Dynasty, which inspired me to be more thorough when doing a period piece in the future.
Has the feedback surprised or challenged your point of view?
The kind words and positive comments encouraged us. At the same time, the sharp ones challenged us. Especially, the comments about the precision of the historical norms. I found that Chinese audiences are more strict with their compatriot filmmakers because they know more about the cultural backgrounds.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We'd wish to broaden our audiences for Miss Boundless, introduce myself as an upcoming film director to the industry, and possibly reach out to festival programmers & potential collaborators.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I'd say film festival programmers and talent agents if possible.
What type of impact and/or reception would you like this film to have?
1. Enter more festivals that are larger, or actually hold screenings online or in person. Last year, we entered many festivals, however, we could not attend any due to the pandemic. 2. Find platforms for screenings or distribution.
What’s a key question that will help spark a debate or begin a conversation about this film?
"How to bridge the culture gap and tell an Asian period drama to a Western audiences?"
Would you like to add anything else?
Not for now. Thank you for the questionnaire. Great questions.
What other projects are the key creatives developing or working on now?
We are working on a short film called "Fun Sized Trouble". "Fun Size Trouble" is a black comedy anthology film composed of three standalone shorts, united by the common theme of dealing with extremes of human behavior that’s brought out by systemic social prejudice. In the end, we now have a finished film that resembles a demo tape of a 21st-century all-girls rock band, it is raw yet also authentic and powerful. Team members are still fellow fellows from AFI.
Interview: July 2021
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Miss Boundless
Length:
15:35
Writer/Director
QIYU ZHOU
QIYU ZHOU is a Chinese film director, writer, and producer based in Los Angeles. She believes filmmaking is the most soulful language as it touches the tenderest part of the audience’s heart. Her films are marked by a fascination with redemption and the recurring themes of grief, self-forgiveness, and its aftermath. They never shy away from using explicit story exposition and daring tones to create their worlds. Qiyu is a tough cookie as she takes hard approaches to soul-purifying pieces with great entertaining values.
After graduating from Beijing Film Academy in 2010, Qiyu began her creative life as a photographer, with her work exhibited in Minneapolis and published in magazines. Now she holds two master-degrees in film directing from the prestigious American Film Institute and College of Motion Picture Arts at FSU. Qiyu was awarded as the best female director by Independent Shorts Awards. Her film, "Miss Boundless" was awarded the Remi Award at WorldFest Houston 2021.
Co-Writer
A. P. BOLAND (co-writer)
After a decade of riding trains through the deep south, A.P. decided to change his life. Searching for purpose, A.P. set out on a small hike along the Appalachian Trail. 2,200 miles later, A.P. had completed the longest hiking-only trail in the world, met the love of his life, and started writing. A.P. moved to Los Angeles to attend the American Film Institute for screenwriting, where he focused on stories about his experiences.
Producer
SIYI REN
Born and raised in Beijing, China, SIYI REN is a recent graduate of Case Western Reserve University, with an MS in Finance. After falling in love with cinema, SIYI interned at Beijing TV Station, New Classics Media (Ruyi’s Royal Love in the Palace), and China Lion Entertainment Production, where she participated in U.S. – China co-production. SIYI received her master's degree as a Producing Fellow at the American Film Institute Conservatory, where she has produced several short films. She recently works as a VFX coordinator for The YinYang Master.
Key cast:
Russell Wong (Yanjin), Junru Wang (Zhang), Henggao Li (Chun), Nicole Jia (Rebel Girl)
Looking for:
film festival directors
Facebook:
https://www.facebook.com/missboundless/
Hashtags used:
#missboundless
Made in association with:
AFI Conservatory