CFCCA’s Film Club invites you to connect and consider key issues of our present moment, through specially selected works and weekly online screenings, with a new film presented each Thursday during March, May*, July and September 2021. Each work will be available to view for one week only.

In March, the programme began with Liu Chuang’s Special Economic Zone exploring economic and urban growth in the city of Shenzhen. The following week, we presented Living for Art by Sookoon Ang, a work which investigates working conditions in the global art market. In the second half of the month, previous residency artist Dorothy Cheung’s film Home, and A Distant Archive highlighted the complex nature of Home and its intersections with archives and government agreements, while Su Yu Hsin’s もり Mori looked at the relationships between communities, folklore and nature. 

*We have taken the decision to cancel May’s Film Club to allow the Curatorial Team to support gallery reopening and programming. Apologies for any inconvenience, we look forward to Film Club’s return in July.

March Schedule: 


Liu Chuang – Special Economic Zone, 2018 (25’56”)

Thursday 4th March – Wednesday 10th March

Liu Chuang, Special Economic Zone, 2018. Image Courtesy of the Artist

Liu Chuang, Special Economic Zone, 2018. Image Courtesy of the Artist

Liu Chuang’s video essay Special Economic Zone collects a large number of historical photographs and sound files recording the history of Shenzhen. These images are like a metronome marking time, exploring Shenzhen’s rapid economic growth over the last 40 years. The piece also includes the artist’s earlier work “Buying Everything on You” (2005- ). In that series, the artist started talking to people looking for work at Shenzhen’s biggest human resources market, offering to buy everything they had on them, and also adding that their possessions would be shown in an art museum. For the artist, Shenzhen is “a constantly mutating ruin of human modernity”. Both Special Economic Zone and Buying Everything on You sample and collect historical traces left by humans, yet unusually, their subjects are still alive. 


Sookoon Ang, Living for Art, 2019 (63’18”)

Thursday 11th March – Wednesday 17th March

Sookoon Ang, Living for Art film poster widescreen (2019)

Sookoon Ang, Living for Art film poster widescreen (2019). Image courtesy of the artist.

Shot on location in Singapore, Japan, London, Paris, New York, Berlin and Amsterdam, artist and  film-maker Sookoon Ang takes us on an eye opening journey into the private lives of artists. Through candid conversations with artist peers, Sookoon’s exploration of their financial struggle and tremendous efforts to make ends meet. These dialogues reveal the artists’ perspectives on the financial difficulties inherent in their career. In turn, together with Sookoon they question the current systems that govern an artist’s career and livelihood. 


Dorothy Cheung, Home, and A Distant Archive, 2020 (24’13”)

Thursday 18th March- Wednesday 24th March

Film still of Dorothy Cheung's Home, and a Distant Archive

Dorothy Cheung, Film still of Home, and a Distant Archive (2020). Image Courtesy of the Artist

Home, and a Distant Archive is a poetic portrait of four Hong Kong women living in London, who volunteered for retrieving and digitising the UK records of Hong Kong’s handover, and their thoughts on identity, diaspora and their home at this troubled time. The film is a resonant, poetic, deeply personal, yet expansive reflection, bringing into sharp relief the political and existential moment we are in.

*Please note this work will be available to UK audiences only.


Su Yu Hsin, もり Mori, 2020 (27’23”)

Thursday 25th March – Wednesday 31st March

Su Yu Hsin, film still of もりMori (2020)

Su Yu Hsin, film still of もりMori (2020). Image courtesy of the artist.

もり Mori is a three-channel video installation that investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters, “守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori” in Japanese. The work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, もり Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.

*Please note this work will be available to UK audiences only.