Exploring the Space Between Realism and Surrealism: Filmmaker Wencai Yao Discusses So Long, Mom - MovieMaker Magazine

      On June 19, 2026, *So Long, Mom* was chosen for screening and discussion at the University of Geneva as part of a curated program presented by the 30°NSFF. As the first international short film festival in mainland China accredited by the International Short Film Conference (SFC), 30°NSFF has consistently followed the creative path of director Wencai Yao in recent years. The selection of *So Long, Mom* marks the second occasion Yao's work has been featured by the festival, underscoring ongoing recognition from a respected industry platform of both her filmmaking skills and unique authorial voice.

      Penned and directed by Wencai, *So Long, Mom* draws inspiration from her own upbringing and revolves around a fleeting reunion between a mother and daughter during a summer vacation. Through a subtle and meticulously observed depiction of daily life, the film delves into themes of maturation, family connections, and farewells—seemingly mundane experiences that nonetheless influence the trajectory of one's life. Since its completion, the film has been chosen by numerous domestic and international film festivals, earning various awards and accolades.

      After its screening in Switzerland, we invited Wencai Yao to share her thoughts on creating *So Long, Mom*. This conversation dives into the transformation of personal memory into cinematic storytelling, as well as considerations of the film's spatial design, character development, audiovisual language, and emotional resonance, offering an in-depth look at the creative journey that shaped the work.

      1. **Origins of the Film: When a Dry-Cleaning Shop Becomes a Vessel for Emotion**

      Q: Aside from its narrative role, were there other factors that influenced your choice of a dry-cleaning shop as the main setting?

      A: Definitely. From a cinematographic standpoint, a dry-cleaning shop is an intriguing location, don’t you think? The white steam from the presses, the persistent humming of vacuum ironing tables, the rhythmic sounds of industrial washing machines, the morning light filtering through the store window, and the lights that stay on late into the night—all these elements create a rich backdrop for the film’s audiovisual components. In many respects, the environment offered boundless creative opportunities.

      2. **Space as Narrative: Finding a Dry-Cleaning Shop That Could Tell a Story**

      Q: How did you come across a location like this?

      A: It was surprisingly challenging. I spent considerable time searching because many contemporary dry-cleaning shops have been transformed into bright, polished commercial spaces. In this film, however, the characters' relationships are often conveyed through their connection to the space itself; the location had to transcend merely being a workplace.

      I was on the lookout for an older shop with character—a place that had a small windowsill where discarded items from customers could gather over time, with operational dry-cleaning and pressing machines still at work. These features not only anchored the story in authenticity but also minimized the need for extensive set design. Concurrently, the space had to allow for camera movement, sound recording, and the practicalities of production. The challenge was that most shops retaining this character were situated in noisy areas, with limited space and outdated facilities.

      I’ve always maintained that the selection process is more important than the alteration. Whether in casting or location scouting, dedicating more time to choosing often proves beneficial.

      Q: Did you make any adjustments to the space?

      A: Yes, several. Initially, the shop had two entrances and a large front window, which provided uniform lighting throughout the interior. While that was effective in reality, it lacked visual depth for cinematography and complicated character portrayal. Working with the production design team, we constructed a false wall to block one of the entrances and added a window with curtains. This alteration granted the cinematographer greater control over the light and allowed us to craft more dramatic visual textures.

      The change also altered the function of the space on film. The original main entrance turned into the background, while a smaller, previously overlooked door became the primary entrance. We included a service counter, reminiscent of those found in older dry-cleaning shops, which influenced character movement, scene blocking, and composition.

      I’ve always considered real space and cinematic space to be fundamentally distinct. Practical spaces are designed for function; cinematic spaces are crafted for narrative. In *So Long, Mom*, these spatial modifications eventually became extensions of the relationships and emotions at the film's core.

      3. **Reconstructing Time: Turning Present-Day Wuhan into the Summer of 2005**

      Locating the right dry-cleaning shop was just the first step. The greater challenge was converting a working modern space into the world I remembered from 2005. Rather than depending on overt nostalgic symbols, I established the film's period ambiance through production design, accumulated details, and traces of daily life.

      Q: Once you found the location, how did you transform it into “2005”?

      A: When we first saw the