THE KOHLARN ISLAND (2017), shot recently in Thailand, and represents Liu’s greatest degree of authorial control. It reveals playful experimentation and heavy pathos as Liu stages mobile scenes with a local, masked drifter as he tows a giant inflatable swan behind a motorcycle. The protagonist’s voiceover in English gives an account of downward spiral and unfortunate descent into vagrancy. He navigates the contours of beaches in uncertainty and disillusionment, and the swan becomes a fantastical element that remains present but rather humorously unacknowledged as a narrative device. Like the beach itself as a boundary between the flux of the ocean and the fixity of a continental landmass, the swan comes to embody a phantasmagorical tableau between a semi-staged fiction and an elusive reality.

    — Benny Shaffer

刘雨佳近期在泰国拍摄完成的《柯兰岛》（2017），展现了艺术家作为影像作者所具有的强大控制力。整件作品既是一场戏谑的实验，又弥漫着沉重的悲悯。刘雨佳在当地拍摄了一位流动的、戴面罩的流浪者，他的摩托车背后拖着一只巨大的充气天鹅。主人公用英文画外音，讲述了自己如螺旋般下沉的命运和不幸变成流浪者的经历。他的骑行在不确定和幻灭感中勾勒出海滩的轮廓，而天鹅则化为当下现实中的奇幻元素，在不经意间以幽默的方式转化为一种叙事手段。正像海滩本身就是海洋的持续变化与陆地的固定性之间的界限，这只充气天鹅也在半-编排的虚构性与那难以捕捉的现实之间，撑起了一个有如幻影的舞台场面。

—夏本明

Liu Yujia references the editing techniques of the French New Wave, particularly the work of Jean-Luc Godard whose surrealistic cross-cuts and anarchic spirit she admires. Koh Lam Island is a short “biopic” about a failed entrepreneur who tells us the tale of his life while he rides on motor bike around the island towing an absurd, large, inflated swan/duck behind him. Down on his luck, everything has failed: his businesses, his marriage, his house, his hopes. He speaks as if he were a victim, yet in some way he remains indomitable and free, despite the endemic corruption of both the “mafia” and the military state who have tried to harm him. The subject of this work is different kinds and levels of truth; we cannot be sure whether this tale is a personal fantasy, true in some sense, or a complete invention, yet nevertheless we are captivated by its telling.

— David Elliott

*Text from article <IN THE SHADOWS OF PARADISE >by David Elliott

刘雨佳借鉴了法国新浪潮的剪辑技巧，尤其是让-吕克·戈达尔的作品，其超现实主义的混剪和无政府主义精神是她所欣赏的。《柯兰岛》是一部简短的“传记电影”，讲述了一个失败的企业家的故事，他骑着摩托车拖着一只巨大的、可笑的充气鹅/鸭子在岛上转悠。不幸的是，他的一切都失败了：生意、婚姻、房子、希望。他的叙述就好像他是一个受害者，但在某种程度上，他仍然不屈不挠、无拘无束—尽管当地腐败的“黑手党”和军队势力试图伤害他。这部作品的主题是不同种类和层次的真实；我们不能确定这个故事是一个人的幻想，但又具有某种程度上的真实，或是一个完全的虚构，然而我们仍然被它的叙述所吸引。

—大卫.艾略特

*节选自文章《天堂的倒影—世纪之交以来的中国影像艺术》