SELF SCRATCH
DIRECTED BY CHENGHUA YANG
FRANCE // 2020
9 MINS
Following a break-up, Wen sinks into melancholy. She talks to herself a lot. By understanding that it is not the love she has lost but her confidence, she will be able to reconcile with herself.
Reflective Encounters
“From France-based director Chenghua Yang, Self Scratch is, at the outset, an uncompromising rumination on melancholy, alienation and isolation. We follow the post-breakup devastation of Wen, who has sunk into a state of depression and all that comes with it - anxiety, losing sureness of oneself, the feeling of being abandoned and the inevitable diminishment of self-confidence. It’s a film that makes for uncomfortable yet compelling viewing, bolstered by an assortment of unique design choices: the blurred edges of the line work and the deep, sunburn-red hues of the main character’s skin that grows darker as the mood becomes more oppressive. It’s in stark contrast to the comparatively playful, almost goofy representations of what little positivity she is capable of summoning up from within herself.
As the film progresses we see these positive affirmations, manifested as a troupe of miniature infants that cavort among the shards of broken glass intended for self-harm, present a united front to rebuild Wen’s self-worth, incrementally beating down her propensity toward negative thoughts. In the wrong hands the moments of levity would be too jarring a juxtaposition, but Yang succeeds in pulling off the interplay between light and dark as harmoniously as possible.”
— Ben Mitchell
Director’s Statement
This film was conceived at the end of 2014. It was inspired by my personal experience. Through the examination of myself, some negative and extreme emotions of being alone are put into the work. “Self Scratch" is an exploratory experimental animation film with a very personal theme.
The rhythm of the whole film follows the fluctuations of emotions and the corporal movements. Our body itself, is not only a potential talker, but also a carrier of emotions. Even if it’s not perfect, it will naturally reveal its poetic and aesthetic side.
The children in the film reflect the energy of self-healing, the innocence and optimism hidden deep inside. The film is presented with a realistic animation style, to make people feel the touching of the skin. The hand-draw celluloid is an ancient traditional painting method, which adds surprises, sometimes blemishes and unique textures to the final image.
The film mainly uses Chinese Guqin and Japanese shamisen, switching back and forth between short and inconsistent notes and joyfully crazy electronic music, intensifying the sharp contrast of the two-way emotions.
Filmmaker Bio
Yang Chenghua, is a Chinese animation director, who lives and woks in France. She graduated from the China Academy of Art and the EMCA animation film school in France.
She has directed animation shorts and participated in various animation projects between Europe and Asia. She also produces illustrations and comics, and works in graphic design.