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Writer's picturePeter K F Cheung SBS

"Woman And Bird"

  1. FADE IN


  2. Act 1


  3. EXT. ROADS TO TSIMSHATSUI -13:30


  4. Sitting in a bus, Peter looks out of the window aimlessly.


  5. PETER (V.O.): Having studied Japanese intensively this morning, I feel I need some recreation.


  6. Pausing.


  7. PETER (V.O.) (Cont'd): This morning, I read in a newspaper that there's a special exhibition at the Hong Kong Museum of Art.


  8. Pausing.


  9. PETER (V.O.) (Cont'd): The marketing theme "The Poetry of Everyday Life" is captivating.


  10. Pausing.


  11. PETER (V.O.) (Cont'd): Apparently, reality is mundane and ordinary. How can artists help ordinary people see everyday life in a new light?


  12. Seeing "Tsimshatsui" appearing on a destination sign, Peter alights.


  13. Act 2


  14. INT. HONG KONG MUSEUM OF ART - LATER


  15. 1/F. Playful images on a big screen. Peter sees "Joan Miro - The Poetry in Everyday Life". We also hear playful music.


  16. PETER (V.O.): I'm not familiar with the artist. I read that he befriended with Pablo Picasso.


  17. Peter turns to Sage in his smart phone and types: How good was Miro?


  18. PETER (V.O.) (Cont'd): Let Sage make a fair comment.


  19. Getting a near-instant answer, Peter reads it.

  20. PETER (V.O.) (Cont'd): Oh, no, not the key player in Germany's 2014 World-cup winning team.


  21. Having typed "The Spanish artist", Peter gets an answer, listing five famous Spanish artists.


  22. PETER (V.O.) (Cont'd): Joan Miro is the 5th one.


  23. We see on Peter's phone screen: Miro was a surrealist painter from Barcelona, Spain. He is known for his colourful, abstract works that often feature playing shapes and symbols.

  24. PETER (V.O.) (Cont'd): I see.


  25. Entering a side hall, Peter sees a big painting, largely in black and white.


  26. PETER (V.O.) (Cont'd): What's this?


  27. Peter checks its museum label and sees "Woman and Bird".


  28. PETER (V.O.) (Cont'd): Woman and Bird?


  29. Peter studies the painting from different perspectives.


  30. PETER (V.O.) (Cont'd): Do I see the woman's face, breast and legs?


  31. Pausing.


  32. PETER (V.O.) (Cont'd): I see one wingless bird on top left.


  33. Turning to Sage again, Peter asks: In art, why are women and birds depicted together? He then reads the answer.


  34. PETER (V.O.) (Cont'd): They're depicted together as a symbol of beauty, grace, and freedom.


  35. Reading.


  36. PETER (V.O.) (Cont'd): It also represents the connection between femininity and nature.


  37. Reading.


  38. PETER (V.O.) (Cont'd): While Miro's birds are often simplified to basic shapes and lines, they convey a sense of movement, joy and spontaneity.


  39. Peter studies the painting again.


  40. PETER (V.O.) (Cont'd): Oh, there's another bird on bottom right.


  41. Googling "Woman And Bird", Peter sees an image of a sculpture.


  42. PETER (V.O.) (Cont'd): Oh, Miro has many works on women and birds.


  43. Reading.


  44. PETER (V.O.) (Cont'd): In Catalan, the word for a "bird" can be a slang for a man's private part.


  45. Pausing.


  46. PETER (V.O.) (Cont'd): That explains why the bird is positioned there.


  47. Having captured some images of the painting from different angles, Peter watches other works.


  48. PETER (V.O.) (Cont'd): Many of the works are untitled...I've to admit that I don't get their inner significance, if there're any.


  49. Pausing.


  50. PETER (V.O.) (Cont'd): If a surrealist work reveals what's hidden, its expression is either real or unreal, and not surreal, in my view.


  51. Act 3


  52. EXT. ROADS FROM TSIMSHATSUI - 19:30


  53. Sitting in a bus, Peter looks out of the window, thinking.

  54. PETER (V.O.): Since time immemorial, humans have been procreating, recreating and creating.


  55. Pausing.


  56. PETER (V.O.) (Cont'd): We're driven by a complex mix of biological, psychological and social factors that influence our emotions, ideas and actions.


  57. Pausing.


  58. PETER (V.O.) (Cont'd): Consciously or unconsciously, we're to sustain the life force, and incidentally, enhance our quality of life in creative ways.


  59. FADE OUT


  60. THE END



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