导演、制片人

毕业于俄罗斯国立电影大学。曾执导《生物入侵》、《北京2022》、《完美的假期》等多部优秀影视作品。所执导科幻+科普短片《追星探月》、《宇宙之门》点击量突破5000万。

电影《老哨卡》荣获中国电影金鸡奖两项提名，蒙特利尔国际电影节最佳新人导演提名以及俄罗斯军事电视节最佳影片奖；《血色远东》曾荣获第 67 届戛纳国家电影节新影人最佳项目奖。曾担任成龙团队策划及编剧，参与制作了《十二生肖2》和《金蝉脱壳2》等多个优质项目。所制作迷你剧《南京之殇》曾获美国艾美奖两项提名，一项金奖。

Du Liang

Director, Producer

Graduated from the Russian State University of Cinematography. Has directed many excellent film and television works such as “Biological Invasion”, “Beijing 2022” and “Perfect Vacation”. The number of hits of the directed sci-fi + science fiction short films “Chasing Stars and Exploring the Moon” and “Door to the Universe” exceeded 50 million.

The film “The Old Sentry Card” was nominated for two Chinese Golden Rooster Awards, Best New Director at the Montreal International Film Festival, and Best Film at the Russian Military Television Festival; “The Scarlet Far East” was awarded the Best Project Prize for New Filmmakers at the 67th Cannes Lions National Film Festival. He has worked as a planner and screenwriter for Jackie Chan's team, and has participated in the production of several quality projects such as “Zodiac 2” and “Cicada 2”. The miniseries produced, “Death in Nanking” was nominated for two Emmy Awards and won one Gold Award.

电影摄影师

毕业于北京电影学院摄影系。入行以来一直从事于电影，广告拍摄。毕业作品《拾荒少年》获得2012年49届台湾电影金马奖最佳创作短片。短片作品《BREATHE》参展世界各地电影节并在数十个国际电影节入围及获奖。其拍摄的《河神》系列剧在国内外流媒体上广受好评。代表作品有：电影《怒水西流》《不期而遇的夏天》《雪山飞狐》《末路狂花钱》《星河入梦》等；剧集作品《君子盟》《球状闪电》《梦之海》《清明上河图密码》等。

Feng Simu

Cinematographer

Graduated from the Photography Department of Beijing Film Academy. Since joining the industry, she has been engaged in movie and advertisement shooting. His graduation work “Scavenger Boy” won the Best Creative Short Film at the 49th Taiwan Film Golden Horse Awards in 2012. His short film BREATHE has been exhibited in film festivals all over the world and has been shortlisted and awarded in dozens of international film festivals. His series “River God” has been widely acclaimed in domestic and international streaming media. His representative works include: the movie “Westward Flow of Angry Water”, “The Unexpected Summer”, “Flying Fox on the Snowy Mountain”, “Spending Money at the End of the Road”, “The River of Stars and Dreams”, etc.; and the drama works “The League of Gentlemen”, “Ball Lightning”, “The Sea of Dreams”, “The Code of Qingming Riverside Drawing”, etc..

科幻小说作者

曾担任《科幻世界》杂志执行副主编，曾为多个影视剧项目提供科幻架构和科幻元素的创作支持。出版包括《终点镇》《伪人2075》在内的长篇科幻奇幻小说十余部，作品曾获得银河奖、星云奖、坐标奖等国内知名科幻奖项；作品《雨船》（英文版）曾获欧美知名科幻奖项“轨迹奖”提名；作品《不做梦的群星》获2022年冷湖短篇一等奖；作品《草台班子的火星之旅》获2024年冷湖中篇一等奖。

Chi Hui

Science Fiction Author

He has served as the executive deputy editor of Science Fiction World magazine, and has provided creative support for several film and TV drama projects in terms of sci-fi structure and sci-fi elements. He has published more than ten full-length sci-fi novels, including “Terminal Town” and “Pseudo-Man 2075”, and his works have won the Galaxy Prize, Nebula Prize, Coordinate Prize and other well-known domestic sci-fi awards; his work “The Rainboat” (English version) was nominated for the “Trajectory Prize” of the well-known European and American sci-fi awards; his work “The Stars That Don't Dream” was awarded the first prize of the short story of the Cold Lake 2022 The work “The Stars Without Dreaming” won the first prize of the 2022 Cold Lake Short Story; the work “The Journey to Mars of the Cottage Team” won the first prize of the 2024 Cold Lake Medium Story.

编剧、策展人蓝星球48极限赛决赛入围选手

#故事接龙StoryStorm AI内容社区发起人；8年影视开发经验，参与编剧和策划影视项目30+；第十四届北影节AI短片单元初评评委；社区包含上千位AIGC创作者，数十家AI技术应用公司；主办或联合发起了三十余次AI短片赛事节展。

Song Donghuan

Screenwriter and curator Blue Planet 48 Extreme finalist

#StoryStorm StoryStorm AI content community initiator; 8 years of experience in film and TV development, involved in scriptwriting and planning 30+ film and TV projects; 14th BeiFang Festival AI short film unit preliminary assessment jury; community contains thousands of AIGC creators, dozens of AI technology application companies; hosted or co-sponsored more than thirty AI short film tournament festivals and exhibitions.

科幻作家 策展人

曾担任德国红点主办CGD设计奖中国区首任执行长，现任米兰设计周中国周、巴黎设计周中国周运营总经理、MAISON&OBJET中国设计奖中国区总经理。曾发表《墓碑》、《AI的离去》、《证人》、《桃园结义在3077》等科幻作品。

Chen Haoyang

Science fiction writer Curator

He was the first CEO of CGD Design Award China, organized by Red Dot Germany, and is now the General Manager of Milan Design Week China and Paris Design Week China operations, and the General Manager of MAISON&OBJET China Design Award China. He has published sci-fi works such as Tombstone, The Departure of AI, Witness, and Peach Garden Junction at 3077.

本次评审最深刻的印象是热忱超越了一切。用AI来创作的电影数量极多，但优秀、成熟的作品不多。《垃圾》是一部在审美、科幻、热点讨论方面叙事成熟、令人印象极为深刻的优秀电影。“硬科幻”，在评审范围内几乎没有看到。大部分电影的科幻量不足，许多作品科幻仅仅是叙事框架。

当然科学主义的要求极大的增加了创作难度，毕竟人文主题早已成熟。《妈妈零点不睡觉》是元宇宙框架下难得深刻的主题讨论，涉及到身体、情感、真假等本源问题。

The most impressive thing about this review is that enthusiasm transcends everything. There are an extremely high number of movies created with AI, but not many excellent, mature works. Junk is an excellent movie with a mature and extremely impressive narrative in terms of aesthetics, sci-fi, and topical discussion. “Hard sci-fi,” was barely seen within the review. Most of the movies don't have a sufficient amount of sci-fi, and many works of sci-fi are merely narrative frameworks.

Of course the demands of scientism greatly increase the difficulty of creation; after all, humanistic themes have long been ripe for the picking. Mommy Doesn't Sleep at Zero is a rare and profound thematic discussion within the framework of the meta-universe, touching on the body, emotions, truth and falsehood, and other questions of origin.

看到了许多令人兴奋的科幻概念以及对AI技术的尝试。虽然当概念转化成影像的时候，不论因为当下AI技术的限制，还是制作资源的匮乏，部分作品呈现出的制作质量还可以更好，但是创作者独一无二的视角和表达是最让我惊喜的，《十七岁的两件大事》、《我要离开》都有这样的特点。

看片过程中，我还发现科幻这个强类型让创作者很容易发挥想象力和技术的同时，也很容易忽略人物和故事本身。但是真正打动人的科幻作品必须能将创造力和技术服务于故事，就像《荒原》、《Lazarus》、《无信号》那样。

Many exciting sci-fi concepts and attempts at AI technology were seen. Although the production quality presented in some of the works could have been better when the concepts were transformed into images, whether due to the limitations of current AI technology or the lack of production resources, I was most pleasantly surprised by the creators' unique perspectives and expressions, as seen in Two Great Things About Seventeen and I'm Going Away.

During the course of watching the movie, I also realized that the strong genre of sci-fi makes it easy for creators to use their imagination and technology while at the same time neglecting the characters and the story itself. But sci-fi that truly impresses must be able to put creativity and technology in the service of the story, as was the case with Wasteland, Lazarus, and No Signal.

这次评审的过程中最直观能感受到的是在科幻母题已经几近饱和的状态下，大家依旧对此主题有强烈的热情和探索欲，这份热情很让人感动。但这也恰恰反映了创作中的问题：从西方延续下来的大框架，如果仅仅是直接挪用，故事是无法产生与观众的链接的。像《断指吟》、《全景漩涡》就很好地将小概念落地在属于自己的土壤里，让科幻故事在我们的语境里生根发芽，非常精彩，创作者除了热情以外，也有成熟的思考与对生活的洞悉。

青年创作者预算有限，许多硬核的科幻场景无法完成，所以如何将概念细致化，让冰冷理性的科学能与人产生非常私密的沟通，这一点《如何想象不可想象之物》给我们提供了新的思考。

The most intuitive thing that I could feel during this review was that everyone still had a strong passion and desire to explore this theme, even though the mother theme of sci-fi is almost saturated, and this passion was very touching. However, this also reflects a problem in the creation of the film: if the big framework that has been carried over from the West is only directly adopted, the story will not be able to create a link with the audience. Like “Broken Finger Chant” and “Panorama Vortex” have done a great job of grounding small concepts in soil that belongs to them, allowing sci-fi stories to take root in our context, and it's very wonderful that the creators, in addition to their passion, also have mature thinking and insight into life.

Young creators have limited budgets and many hardcore sci-fi scenarios can't be accomplished, so how to nuance the concepts so that cold, rational science can communicate with people on a very personal level is something that How to Imagine the Unimaginable has given us new ways to think about.

今年初评的作品大部分都出自20多岁的年轻人，表达方式非常多元，几乎每部都有不同的叙事角度。但在科幻主题上却出现了一定程度的趋同，表现对AI忧思的作品占了相当一部分，甚至看到了多次《银翼杀手》的影子，这也跟近年国内科幻小说的创作风潮高度一致，科幻与现实的界限越来越模糊。

印象最深刻的作品是《断指吟》，极接地气的风格与背后宏大的宇宙观完美奇妙地融合在一起，让人想起电影《降临》带来的震撼。

Most of the works in this year's preliminary evaluation are from young people in their 20s, with very diverse modes of expression, and almost every one of them has a different narrative angle. However, there is a certain degree of convergence in the theme of science fiction, and works that express worries about AI account for a considerable part of the works, and even saw the shadow of Blade Runner many times, which is also highly consistent with the trend of domestic science fiction in recent years, and the boundaries between science fiction and reality are becoming more and more blurred.

The most impressive work is “Broken Finger Chant”, the extremely grounded style blends perfectly and wonderfully with the grand cosmology behind it, reminiscent of the shock brought by the movie “The Descent”.

这次大赛所有AIGC生成的作品看完后最强烈的念头是，AI绘画的一些基本功还有待普及。很多作品明显感觉到创作者具有导演思维，但却因为对于工具不是很了解，所以画面质量以及人物动态上的把控都无法随心所欲。

《逃离A区》无论是从制作方式还是内容的角度上，都有深深的AI烙印。影片立意上足够新，画风没有刻意追求写实，而是探索了一个更加符合氛围的风格，整体制作也能看出作者的视听语言功底十分老练。这也许就是我心目中AI电影该发展的方向，天马行空，无所不能。

The most impressive thing about this review is that enthusiasm transcends everything. There are an extremely high number of movies created with AI, but not many excellent, mature works. Junk is an excellent movie with a mature and extremely impressive narrative in terms of aesthetics, sci-fi, and topical discussion. “Hard sci-fi,” was barely seen within the review. Most of the movies don't have a sufficient amount of sci-fi, and many works of sci-fi are merely narrative frameworks.

Of course the demands of scientism greatly increase the difficulty of creation; after all, humanistic themes have long been ripe for the picking. Mommy Doesn't Sleep at Zero is a rare and profound thematic discussion within the framework of the meta-universe, touching on the body, emotions, truth and falsehood, and other questions of origin.