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With the completion of the Three Gorges Dam, now under construction, 1.13 million people along the Yangtze River will have been dislocated. The majority of them are farmers. BINGAI features one woman farmer who refuses to move away from her village. The audience will follow her seven-year struggle with officials who pressure her to relocate, while a strong devotion to her land compels her to remain in the place she calls home.

导演简历:

冯艳，天津人。1994年开始用超8和DV制作纪录片。
第一部长片《长江之梦》（1997年）曾参展97年日本山形国际电影节、1998年香港国际电影节、柏林人类学电影节、第一届云之南电影节等，并获1998年第一届台湾国际纪录片双年展优秀奖。2007年完成《秉爱》，参展温哥华国际电影节、釜山国际电影节、维也纳国际电影节等。并获第四届中国纪录片交流周优秀纪录奖、山形国际纪录片电影节亚洲新浪潮单元小川绅介奖、社团电影奖。西班牙“观点”国际纪录片电影节最佳影片奖。南特三大陆电影节银气球奖。比利时Filmer A Tour Prix电影节大奖。第32届香港国际电影节优秀纪录片人道奖。《南方周末》2007年年度电影提名。现后期制作《长江边的女人们》。
A native of Tianjin,China. Feng Yan begins making documentaries about rural China in 1994.
Dreams of Changjiang (1997, 85 min) was her first feature-length documentary screenings at Yamagata International Documentary Film Festival 97 (New Asian Currents), Hong Kong International Film Festival (1998) and gained the Excellent Documentary Award in Taiwan International Documentary Festival'98. Bingai(2007,114min) gained the Excellent Documentary Award in The 4th China Documentary Film Festival’2007,  the Ogawashinsuke Prize and the Community Cinema Award in the Yamagata International Documentary Film Festival 2007(Japan). Now her work Women of Yangtse Rive is in post-production.

导演阐述:

张秉爱是我所遇到的被拍摄者中最慢热型的一位。她开始给我讲述个人的故事，是在我们相识了8年之后。当巨大的压力扑面而来的时候，记忆如决堤的江水汹涌而出。我被这洪流夹裹着，身不由己。在这些似曾相识的故事面前，我感到一丝触摸到对方灵魂的颤栗。

当秉爱在繁忙的农活之余，在和干部交涉的空隙，不停地对着摄影机倾诉的时候，我深深体会到，她的所有决定，所有行为，都是以她个人的人生经验为依据的。在《秉爱》定稿的时候，我发现：这些讲述和现实生活中所发生的事件的穿插，和我的拍摄顺序完全吻合。这也许只是一个巧合，但却使我感叹生活的丰富，它超出了我的想象，使我去“结构”影片的努力显得多余。

Director's Statement
Of all subjects I've had the chance to film, Zhang Bingai took the longest to warm up to me and reveal herself. We'd known each other for eight years before she confided to me the story of her life. When there is water about to rise up and submerge your house, and you are burdened by the huge pressure to make final decisions, all the memories of your rough life come raging out like floodwaters breaking through a dam. I was caught in this riptide and I drifted, unable to move at all, enveloped in a story I felt as though I had heard before, and I even shuddered for an instant with the feeling that I had touched her soul. As Bingai talked unhesitatingly to the camera in between her busy farm work and heated negotiations with officials, I understood how all her past choices and actions were based on her own life experiences. As I was editing Bingai, I came to realize that parallels emerged between her history and current situation entirely in the order in which the scenes were shot. A life's richness and complexity goes far beyond our imagination. This coincidence made me lament over my silly and unnecessary efforts to try to "compose" the film.