“The River That Holds Our Hands”, interview with Director Jianhang Chen and Producer Lin Ziyang

Exploring the Teochew Diaspora: An Interview with Jianhang Chen and Lin Ziyang on “The River That Holds Our Hands”

At the 30th Busan International Film Festival, I had the opportunity to speak with Jianhang Chen, the film’s director, and Lin Ziyang, the producer, about their film “The River That Holds Our Hands.” This captivating documentary-fiction hybrid beautifully explores the experiences of the Teochew diaspora, blending cultural storytelling with sensory artistry. In this interview, they discuss their creative process, the importance of cultural identity, and how sensory elements play a vital role in storytelling.

Documentary Roots and the Hybrid Filmmaking Approach

Jianhang Chen shared that his journey to create this film began with a documentary perspective, having filmed over five years in this format. This experience naturally evolved into a hybrid filmmaking approach. “I love how people talk about their stories in their homes,” Chen explained. “Documentary allows us to capture these authentic moments and bring them onto the big screen for the audience.” He emphasized the significance of capturing natural interactions, citing a scene shot on the streets of Saigon where a street vendor was unaware of being filmed, resulting in a genuine, unscripted shot.

The Power of Image and Sound in Storytelling

Both Chen and Ziyang highlight the importance of sensory elements—especially sound and visual imagery—in conveying memories and dreams. The Eye Catcher Global jury praised the film for its delicate attention to sound design. Chen elaborated that sound was deliberately used to evoke a sense of nostalgia and historical rhythm. “We aimed to blend sounds that ancestors might have heard—birds, water, and everyday life—mixed with modern elements to create an immersive, dreamlike atmosphere.” This acoustic layering enhances the emotional resonance of the film.

Touch as a Connection to the Past

The theme of touch is central to the film and its title, symbolizing a bridge between past and present. Chen described how tactile experiences, such as the sound of touching an old photograph, evoke memories and connect the characters to their history. An example is the scene where the main character touches an old lady’s hand as she sleeps; this moment triggers a dream of her mother and a subsequent scene in Vietnam, forging a deep link between different generations and histories. Lin Ziyang also emphasized the significance of these tactile, sensory connections in illustrating personal history.

Support and the Creative Journey

Both filmmakers expressed gratitude for support from organizations like the Maritime Guangdong Program and the Asian Cinema Fund (ACF). Chen explained that the Maritime Guangdong funding was crucial during the early stages when the project was just a short film. “Over these two and a half years, we received invaluable support from multiple organizations, which kept us motivated and helped shape the final film.” The ACF played an essential role in the later stages of production.

Revisiting the Teochew Diaspora

When asked about the central themes in exploring the Teochew diaspora, Chen emphasized identity and the desire to share these stories globally. “I believe the Teochew community has many rich stories to tell. We’re proud of our culture and heritage, and I wanted to share that pride with the world—especially in Asia.” He aims to use film as a universal language to connect the ancient stories of the Teochew people with a broader, international audience.

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