By love-89.com On October 20 in Hangzhou, during the inaugural “Good Story Sharing Session” at the Zhijiang Screenwriters Village, filmmaker Fang Li, director and producer of the documentary “The Sinking of the Lisbon Maru,” spoke passionately about his motivation for creating the film. “I fear that this history and these individuals may be forgotten,” he said, emphasizing his desire to preserve the enduring friendship through the medium of documentary filmmaking.
In October 1942, the Japanese army requisitioned the Lisbon Maru to transport British POWs. While passing through the Zhoushan waters, the ship was attacked by the U.S. military, resulting in the deaths of 843 prisoners. Remarkably, 384 of them were rescued through the courageous efforts of local fishermen.
Fang first learned of the Lisbon Maru tragedy in 2014, expressing, “I love history and photography, yet I had never heard of the Lisbon Maru’s sinking. This shows how little known this chapter of history is.” His curiosity blossomed as he wondered about the ship’s journey and the experiences of the over 800 dead prisoners.
To delve deeper into this history, Fang made multiple trips to Dongji Island to connect with the fishermen involved in the rescue and their descendants. “I was deeply moved by their stories to the point of tearing up on several occasions,” he recounted.
Motivated by this emotional connection, Fang decided to make the documentary. In 2016, he and his team traveled to the UK to interview the descendants of those who lived through the events, aiming to reconstruct this submerged narrative. Little did they know, this journey would span eight years.
When asked about the allure of documentary filmmaking, Fang replied, “The beauty of documentaries lies in their unpredictability and the limitless possibilities they hold.” He emphasized that the essence of documentary creation comes from its inherent unpredictability: “When you head out with a camera, you have just a general direction, much like embarking on a road trip, not knowing what you’ll encounter. My documentary doesn’t have a fixed script; it’s driven by instincts and desires to capture real moments.”
“The Sinking of the Lisbon Maru” premiered on September 6. In the first half of the film, Fang takes on the role of a “guide,” leading viewers through history, transcending time and space. While traditional documentaries don’t require directors to appear on camera, Fang felt compelled to engage his audience emotionally. He candidly shared, “I hesitated for a long time about whether to appear in the film. By nature, I prefer to stay behind the scenes. However, given that this film revolves around emotions and discovery, I realized that I represent not just myself but every Chinese person present.”
Recently, “The Sinking of the Lisbon Maru” was officially selected to represent mainland China in the race for the Best International Feature Film at the 97th Academy Awards. Fang acknowledged the significance of this nomination, noting the fierce competition from films around the globe. For him, receiving a nomination is already a profound recognition and honor.
In light of the rapid rise of the “short video era,” Fang urged young directors and screenwriters not to be intimidated by this trend. He remarked, “Movies outlive us, so they must resonate with audiences.” He believes films possess dual qualities—commercial entertainment and cultural artistry. When choosing to make a film, the creative team must clarify their direction, whether to pursue short-term profits or to create lasting cultural value.
“I choose to create works that can endure, that touch hearts and provoke thought,” Fang explained. He believes that impactful stories are not born from meticulous calculations or designs. “If we aren’t moved by the story during development, how can we expect the audience to be?”
Fang encouraged emerging filmmakers to think long-term, stating, “Our lives are too short to focus solely on basic needs and financial gain. We should invest our energy, passion, and emotions into pursuing more meaningful endeavors, like making a film that can be remembered for generations. Such works become not just our epitaphs but a lasting testament to our lives.”