The Groundbreaking Project of Zhu Yiran: A Chinese Documentary Filmed in Space
Zhu Yiran stepped into uncharted territory when he took on the role of director for what is celebrated as the first Chinese documentary filmed in space. This venture, dubbed Shenzhou 13, not only showcases the talents of the crew onboard the Shenzhou 13 spacecraft but also reflects the innovative spirit of Chinese filmmaking.
Pre-Production: Training in Zero Gravity
In the lead-up to the mission, Zhu worked closely with his team from the China Media Group Television Series and Documentary Center, dedicating over a month to train three astronauts. This training encompassed essential filmmaking skills, preparing them to operate specialized cameras tailored for the unique conditions of outer space. Additionally, the team faced the complex challenge of adapting 8K UHD technology for use beyond Earth’s atmosphere, discovering unforeseen complications as filming progressed.
Cinematic Journey of Shenzhou 13
The documentary chronicles a compelling narrative that spans from the launch on October 15, 2021, to the return on April 15, 2022. It captures the daily activities of astronauts Zhai Zhigang, Wang Yaping, and Ye Guangfu, highlighting their spacewalks and the maintenance tasks aboard the Tiangong space station — all filmed by the astronauts themselves using cameras equipped by the China Media Group.
“Creating a documentary that meets traditional narrative standards in the confines of a space station posed significant challenges,”reflects Zhu. He notes that the team had to stray from conventional production models, encountering difficulties such as the cumbersome weight of memory cards that needed to be returned to Earth.
The Challenges of Remote Direction
Conducting the filming remotely was one of Zhu’s greatest hurdles: “Not being physically present at the filming site fostered an aura of uncertainty throughout the project. However, this absence lent authenticity to the documentary, providing an intimate glimpse into the astronauts’ experiences.”
Highlights from Hong Kong’s Film Pavilion
The documentary is prominently featured at the China Film Pavilion during this week’s Filmart in Hong Kong. This pavilion, co-hosted by the China Film Administration and China Film Co-production Corporation (CFCC), showcases over 50 Chinese companies and more than 160 films. Organizers aim to promote the diversity of content emerging from China’s flourishing film industry.
While the global phenomenon Ne Zha 2 has dominated discussions with record-breaking $2 billion earnings, other commercial successes are also being showcased. These include the comedic Detective Chinatown 1900 and the fantasy epic Creation of the Gods II: Demon Force. The pavilion also emphasizes documentaries such as The Sinking of the Lisbon Maru and the musical-drama A Tapestry of a Legendary Land.
Current State of the Chinese Film Industry
Chinese filmmakers attending Filmart bring optimism as the local film industry edges back towards pre-pandemic performance. Although the box office for 2024 reflected a 21% decline year-on-year, reaching $5.86 billion, there are signs of recovery, with the urban movie-going audience exceeding one billion and the opening of 4,658 new screens, totaling almost 91,000 urban cinema screens in China.
In total, 873 films were produced nationwide, including 612 feature films, with eight titles surpassing RMB1 billion (approximately $138 million) at the box office. Internationally, 93 films premiered in China in 2024, a slight increase from the previous year, contributing to a total box office for foreign films of RMB9.063 billion ($1.2 billion), accounting for 21.32% of the overall total.
Looking Ahead: Shenzhou 13 and Its Mission
Amid these developments, excitement is building for the pending domestic and international releases of Shenzhou 13. Zhu Yiran emphasizes that every aspect of the camera system was meticulously devised to withstand the harsh conditions of a rocket launch and to be user-friendly for the astronauts. Their efficient grasp of this advanced equipment played a crucial role in ensuring the film’s production.
In addition to technical training, Zhu engaged the astronauts in discussions about documentary filmmaking and the aesthetics of space, aiming to transcend formal reporting and encourage genuine expressions of Chinese aesthetic values within the context of their critical mission.
Setting the Stage for Future Collaborations
The presence of the China Film Pavilion in Hong Kong follows successful showcases at international festivals, including Cannes and Toronto. Offering insights into the current landscape of Chinese cinema, the pavilion includes seminars and events aimed at fostering partnerships in film production, marked by notable screenings such as The Sinking of the Lisbon Maru, which aims to introduce international audiences to the standards of Chinese documentaries.
Zhu expresses hope that potential distribution partners will be captivated by the film. “In a poignant moment of the documentary, when astronauts look upon the earth illuminated at night, it encapsulates a profound reflection on humanity’s connection to our planet. Our goal with this documentary is to encourage viewers to cherish and protect our only home in the cosmos,” he articulates.