Co-Producer: Nicole T.I. Chan
Story/Screenplay: Essay Liu
导演：王育麟 / 刘梓洁
Director: Wang Yu-Lin / Essay Liu
Director of Photography: Fu Shih-Ying
美术指导：黄婉妮 / 徐硕峰
Production Designer: Vovi Huang / Hsu Shuo-Feng
Sound Design: Tu Du-Che
主演 / Cast
王莉雯 Wang Li-Wen
吴朋奉 Wu Peng-Fon
陈家祥 Chen Cha-Shiang
陈泰桦 Tiger Chen
太保(张嘉年) Tai Bao (Kanin Cheung)
张诗盈 Cheung Si-Yin
王莞如 Wang Guan-Ru
朱家仪 Chu Cha-Yi
本片描述女主角阿梅的父亲突然辞世，返乡处理后事的她，却在七天之内，经历了一趟匪夷所思、豪迈奇特的告别之旅，不仅被紧凑密集的追思、五光 十色的喧闹震撼得措手不及，荒谬之间却也使痛失亲人的哀恸，竟意外获得了减轻。当嘉年华式的华丽告别落了幕，子欲养而亲不待的喟叹这才油然而生，顿时热泪 不止。
With the sudden death of her father, Mei, a jet-setter, returns to her unfamiliar hometown in central Taiwan. The over-elaborate funeral formalities and traditions often cause Mei and her brother in confusion. Mei goes back to her hectic jet-set lifestyle after the funeral quickly. Someday the longing for her father suddenly overwhelm her when she enters a hazy smoking room.
导演介绍 About Director
Yulin Wang was born in Taipei in 1964. He graduated from the School of Forestry at National Taiwan University, and studied Film and Video at the School of Visual Arts, New York. He owned Socoly Film Pro. Ltd. Co., where he was in charge of editing, directing and producing films. In addition to this extensive background and his ability in overall planning and execution, he is known for his extreme sensitivity as a filmmaker.
Eassy Liu was born in 1980. She graduated from the Department of Adult and Continuing Education, National Taiwan Normal University, and is now studying for her masters at the Institute of Taiwan Literature of National Tsing Hua University. She has very advanced literary skills and solid interviewing and writing experience. She has a profound ability to observe and interpret social interactions in great detail.
导演的话 Words from the Director
At one point or another, everyone faces the hardship of losing a loved one.
Especially for people from central and southern Taiwan, excessive formalities associated with funereal traditions are the accepted occasional doses of drama in life.
Taoist priest, professional weeper, Scripture chanting troupe, folding paper lotus, ice chest coffin, white-evelope and funereal towel, electronic float, mourning costume and straw sandals, funeral flower wreath and canned-goods tower.
All of the above professions, items, and equipments are quintessential Taiwanese; yet they possess certain taboo, so that most people approach them with fearful reverence.
Revernce for Death
What if these aforementioned professions, items, and equipments become the main characters in drama? What if they are allowed to express and perform what and who they are, even in comedic ways, what would that be like?
Perhaps aside from examining death head-on, we could see more to the story.
Seven Days In Heaven aims to raise the quality of drama through the perspective of liteature and strong, bold visual style, and depart from the stagnant model of “realist heart-warming Taiwanese family portrait”. In Seven Days In Heaven, there is a sense of sympathy and kindness amidst vulgar conventions; a sense of chastity amidst sultry sensuality; a sense of ease and casualness amidst expressive anguish.
Simply put, Seven Days In Heaven wishes for the audience to laugh, curse, cry and be moved in scenes with which they are familiar, and more importantly, in which to find their own stories.