花与镜
Flowers and Mirrors
A silent pantomime, yet filled with the loudest malice.
But I still wish this world could truly be a dreamlike paradise without metaphors—
A place where we turn absurd ideas into carousels,
where the remnants of suffering are rebuilt into roller coasters.
I would gladly take a job popping balloons,
and with each one I hit, a flower would quietly bloom in some hidden corner.
Creative Inspiration | Flowers and Mirrors
In an era defined by information overload and rapidly evolving AI technologies, we as filmmakers are continually prompted to ask:
How will AI reshape the nature of visual storytelling?
The answer, undeniably, is: It already has.
AI has begun to shift workflows across multiple domains—storyboarding, concept design, even entire production pipelines—especially within less mature creative teams. But for us, AI is not a replacement; it is a tool, a medium through which new ideas, aesthetics, and methodologies emerge.
The heart of filmmaking has never been technology. It has always been about human perspective.
We believe that:
“The human imagination is vast enough to surround the entire world.”
AI, by contrast, is merely a powerful aggregation of human knowledge, art, and culture—it can process, simulate, and suggest, but it cannot truly feel, intuit, or intend. In Flowers and Mirrors, AI was used to extend form, enhance workflow, and offer alternative visual possibilities. But the creative core—the emotional structure and conceptual logic—was entirely human-driven.
On Dreams, Distortion, and the Edges of Meaning
Flowers and Mirrors is not an “AI-generated short film.” It remains a human-authored work.
From script development and storyboarding to visual composition and directorial intent, every stage was thoughtfully crafted by the team. AI served merely as an executional aid, generating visual assets based on precise creative prompts.
We are also fully aware of AI’s limitations—its inability to interpret human nuance, emotional dynamics, or consistent character behavior. The result often carries a surreal or uncanny visual tone, with fragmented identities and imperfect continuity.
Paradoxically, this very imperfection—the blur, the distortion, the dream-like inconsistency—became integral to the film’s aesthetic.
After all, dreams are never complete.
They are disjointed, elusive, and deeply personal. We aimed to reflect that in the film’s visual and narrative texture.
Choosing Animation as a Medium
From a production standpoint, the story required open amusement park settings, a large number of extras, and props touching on delicate themes. Considering budget and logistical constraints, we made an early decision to pursue an animated format.
Animation allowed us to strip away realism, detach the narrative from specific time and place, and focus purely on emotional resonance and symbolic meaning.
AI-assisted animation significantly improved production efficiency, enabling us to realize the project within tight parameters—without compromising the conceptual ambition.
Flowers and Mirrors: A Study in Human Reflection
To us, Flowers and Mirrors is not a showcase of technology.
It is an exploration—a creative dialogue between human consciousness and machine capacity, between memory and simulation, between seeing and being seen.
Ultimately, we came to a clear realization:
AI can be a powerful instrument. But it can never replace an author.
Because cinema is not merely about rendering the visible world—
It is about capturing how humans perceive, imagine, and remember it.
Technology may bring us closer to the “how.”
But only human creators can define the “why.”
