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Verflossen Ist Das Der Tag 
那一天已然流逝




Experimental Film, 2018






At that place, the borderless place of life and death,
I find my mommy, the dead child of my lost self.

—Kim Hyesoon, Bird Rider: An Essay

我在极度内心的深处找到妈妈 ——那个失落的自己之死去的孩子。

—金惠顺，《骑鸟者：一篇散文》




 
Verflossen Ist Das Der Tag is a surreal film poem tracing grief as a non-linear choreography of loss, embodiment, and mirrored estrangement. Against the backdrop of an ecological collapse, Amber searches for her vanished painter mother—only to encounter a white-haired mirror self. Their bond unfolds through ritual gestures (a shared cigarette, a burning painting) across a scorched dreamscape. Rather than reconciling, they walk in parallel: never meeting, never leaving. The film maps memory not as origin but as diffraction—where maternal absence folds into temporal dislocation and spectral self-recognition.

《那一天已然流逝》是一部超现实主义影像诗篇，以非线性的方式勾勒悲伤如何在失落、身体感知与镜像疏离间流动。在生态环境崩溃的背景下，女主角安珀寻找失踪的画家母亲——却意外遇见了一个白发的自我镜像。她们之间的联系通过仪式性动作（共享一支烟，焚烧一幅画）在一片荒芜的梦境中展开。她们既不和解，只是并行前行：不曾相遇，也不曾分离。这部影片将记忆描绘为一种散射而非源头——母亲的缺席化作时间的错位与幽灵般的自我认知。