Lilan Yang

My project, “The Perfect Human,” is an experimental film inspired by Jørgen Leth’s 1967 film of the same name. I was drawn to how Leth questions what it means to be human, by observing a white Danish couple performing daily rituals. In my version, I used machine learning and experimental filmmaking techniques to reexamine the contested notion of perfection in the eyes of artificial intelligence. Later the remake of the computer-generated moving images are transformed from digital recreation to an analog artifact of transparencies which completed the cycles from analog film to digital video and back to 16mm format, from motion pictures to still images, and then latent-space interpolation, from a proxy of human memories to the machine learning construct.

I studied Computer Engineering when I was in undergraduate school and I’ve always been captivated by how cinema transports viewers in time and space. Eventually I decided to fully embrace my love for art and pursued an MFA at Rhode Island School of Design. It was during those formative years at RISD that I began my journey as an artist and experimental filmmaker, blending my technical background with passion for art.

While I can’t remember exactly which film I watched first, I have vivid memories of being mesmerized by early Chinese animation in the 1960s, such as “Havoc in Heaven” (1961). Truly a masterpiece after all these years!

My answers to these questions always change from time to time. Lately, I have been revisiting the films by Michelangelo Antonioni – his unofficial trilogy including L’Avventura (1960), La Notte (1961), L’Eclisse (1962) on isolation and alienation has been so impactful on my own artistic explorations. Simply timeless.

As for my favorite film, I can’t simply choose one. However, I can share a recent film that I watched that has lingered in my thoughts: “the Vanishing” (1988) by George Sluzier. It well captured the depth of obsessions and fragility of human connection. If you haven’t seen it, hold your breath until the end!

My time at RISD solidified filmmaking as my artistic path. In an introductory 16mm filmmaking class, I first experienced the true magic of working with film. Learning to operate a Bolex camera, feeling the substantial weight of the apparatus in my hands, and peering through the viewfinder to frame the world transported me to a different dimension. The hands-on process of experimental filmmaking – the tangible connection to the medium itself – offered an unparalleled creative experience that I cannot stop.

Oftentimes I allow my intuition to drive my artistic decision, while this project required a deep dive into technical aspects of creating my own pseudo-film bypassing the traditional chemical processes. One of the biggest hurdles was figuring out the logistics to convert digital footage back to an analog format without the use of a camera, letting the computer-generated imagery exist as tangible artifacts in the physical world.

Extensive research was conducted into 16mm film templates and specifications, making sure the correct image sequencing, and countless hours of laser cutting and splicing together filmstrips. Despite fabricating my film frame-by-frame, the end result was truly rewarding.

“The Perfect Human” presented a unique set of production realities, quite distinct from traditional filmmaking. Since the film reimagines existing footage through the lens of artificial intelligence, there wasn’t a traditional casting or shooting process involved.

Instead, a significant portion of the production focused on training the AI model. This involved meticulously feeding the algorithm thousands of images, carefully curated and sequenced to correspond with the original film’s timeline. It was a labor-intensive process, ensuring the AI could effectively interpret and transform the source material.

“The Perfect Human” has been well-received and sparked many intriguing conversations. It resonates with a wide range of audiences, from the niche circle of experimental film to those who just encounter this type of cinema for the very first time. People generally appreciate my approach using artificial intelligence to investigate simple yet philosophical questions. It’s quite rewarding as an artist to have my work prompt viewers to reflect on their own perceptions and biases and new ways of seeing the world around us.

While classic cinema styles provide a foundation and invaluable techniques, it’s essential for filmmakers to discover and nurture their unique voices. My own work often involves reimagining classic films through a contemporary lens, utilizing new technologies like AI to explore fresh perspectives. It’s this kind of creative exploration that pushes the boundaries of filmmaking and allows us to connect with audiences in meaningful ways.

Film festivals are absolutely vital to the experimental filmmaking scene. They serve as crucial platforms for connecting filmmakers with audiences and fostering a vibrant community. Festivals not only help with the circulation of work, extending its reach far beyond the filmmaker’s physical presence, but they also transcend geographical boundaries. I’ve been incredibly fortunate to travel with my films to places I never imagined I’d visit, and made many wonderful friends from different parts of the world.

Currently I’m working on a structural film called “Untitled Film Disinfection Project.” Created in response to China’s “zero-COVID” policy—with its harsh lockdowns, relentless testing, and severe restrictions that tragically culminated in the Ürümqi fire—this project treats developed black leader film as an “unclean” object in need of cleansing. By applying chlorine dioxide to film surfaces—following government disinfection guidelines during the pandemic—the work transforms physical material into a metaphor for censorship and information control in mainland China.