Xueni Yang

An essay on filmmaking as a time-based art form, exploring emotional dramaturgy, rhythm, and cross-cultural storytelling beyond narrative logic.

When breath leads, the body reorganizes before meaning appears. An observation from a movement workshop at the NIPAI / IUGTE Conference 2025 on breath, structure, and what moves before interpretation.

The camera is a psychological projection of the character — a direct manifestation of how they perceive the world and their place within it.

Shenyun (身韵) is the core aesthetic and movement language of Chinese classical dance. With an emphasis on breath-led flow and musicality of the body, this practice cultivates expressive subtlety, emotional contrast, and refined control.

Bridging Meyerhold’s Biomechanics and Qi Cheng Zhuan He (Kishōtenketsu) through Chinese Dance — A Reflection on Movement Training for Stage Actors

Many filmmakers dream of getting festival funding, yet the selection process is rarely transparent. At B3 Festival, a candid panel with Hessen Film & Media’s director revealed why some films make the cut while others don’t—and why relying on this system might not be the best path for truly bold, author-driven work.

Author’s Note:  I didn’t expect listening to be the skill that would shape my work — as a filmmaker, teacher, actor, and sometimes even a...