Lí
Los Angeles, California | Film Short
Romance, Drama
Chinese superstition says you should never share a pear with a loved one, lest you be separated. In an act of teenage arrogance, Mei and Elliot don’t listen. The consequence: a curse of separation that forces them to confront their cultural responsibility and the cracks in their relationship.
Lí
Los Angeles, California | Film Short
Romance, Drama
1 Campaigns | California, United States
63 supporters | followers
Enter the amount you would like to pledge
$4,868
Goal: $22,000 for production
Chinese superstition says you should never share a pear with a loved one, lest you be separated. In an act of teenage arrogance, Mei and Elliot don’t listen. The consequence: a curse of separation that forces them to confront their cultural responsibility and the cracks in their relationship.
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About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Lí takes a literal interpretation of the fēn lí superstition, which says that because “分离“ (separation) and “分梨“ (sharing pears) are both pronounced “fēn lí,” sharing a pear with a loved one will sever your relationship. Taking this, we enter a story of magical realism, folklore, romance, and coming-of-age.
MEI and ELLIOT are two reckless high school sweethearts who are utterly in love and driven entirely by that unfounded confidence and ferocity that teenagers often have.
After school one day, Mei and Elliot take a risk: They steal a pear from the backyard of the terrifying and mysterious Shenmi Nai Nai. The two ignore the warnings and share the pear in an act of dismissal and defiance. Next thing they know -- they’re blasted apart.
The couple quickly realizes that they cannot come within arm’s reach of each other and any attempt to do so causes severe physical pain: literal heartache.
If there’s any hope of finding a solution, it has to be done before the impending lunar new year. When the only person who can help – Shenmi Nai Nai – firmly backs the couple’s deserved punishment, Mei and Elliot must face language barriers, cultural incompetence, and the true strength of their love to protect their relationship.
CROSS-GENERATIONAL CULTURAL DISSONANCE
“Lí” examines how culture shifts and often dilutes as each generation hands it off to the next. In the story, Mei and Elliot face their differing levels of cultural competence, raising the question: What responsibility do we have to our cultures and our lineages? The age gap between Shenmi Nai Nai and the kids will be striking, through character as well as appearance. We’ll observe how these differently aged characters engage with their world and culture.
LANGUAGE BARRIERS
How much can you say without words?
Shenmi Nai Nai only speaks Mandarin. Mei only speaks English. Elliot knows a little Mandarin, but only really speaks English. These facts define the dynamics and relationships between all the characters.
The Chinese dialogue will not be subtitled. I believe the most effective way to comment on language barriers is to let the audience experience them first-hand. Let them join in on the characters’ confusion and frustration. With some viewers understanding both languages and some viewers understanding neither, the linguistic dynamic amongst the audience will parallel that of the characters.
LOVE & RELATIONSHIPS
Though they may not realize it, Mei and Elliot are still kids. They’re still figuring out life and they’re definitely still figuring out love. The curse tests the bounds of their relationship and questions: What makes love worth fighting for? How far will they go for their love? What does distance do to connection?
“Lí” takes place in a world that is not real – though it is a metaphor for very real and very common feelings of cultural clash. It’s not America. It’s not China. It’s some world in-between – a nondescript place where these cultures merge.
I intend to make bold visual and stylistic choices with this film. I am largely inspired by the visual and tonal stylings of East Asian Cinema and contemporary East Asian surreal and editorial photography – artists like photographer Cho Gi Seok, whose art creates new worlds powerfully ruled by emotion. I will support the film’s magical realism with these bold artistic choices.
Cinematographically, there will be a shift that occurs at the instant the spell is cast. Pre-spell, we’ll be shooting on spherical lenses with lots of handheld motion to bring us into the world of these teens – reckless, care-free, and fun. It’ll be like another friend is filming. But once the spell is cast, we switch to anamorphic lenses, emphasizing the mysticism of the world we have entered.
We will also introduce split screens as a visual motif after the spell is cast. The split screen will parallel the split between the characters, in some ways emphasizing their separation while still showing them side by side. They are still one love.
When it comes to the forces and energies that keep Mei and Elliot apart, I want to visually twist, bend, and reshape the world. Something untraditional, perhaps closer to the fine art world.
“Lí” isn’t a simple love story. It’s a film about modernity vs. tradition and cross-generational cultural dissonance. As multi-racial first-gen Chinese-American, I have always felt this dissonance in my veins. I am constantly straddling different cultures and customs, and it took me a heartbreaking amount of time to finally fully appreciate my Chinese heritage.
As I’ve gotten older, a powerful sense of responsibility has bubbled up in my heart. I feel fiercely protective of the history, people, and culture that came before me. This film honors our traditions and reminds my younger self (and any young first-gen) to respect, accept, and celebrate her cultural heritage.
I am a huge believer in the power of diversity and representation on screen. A large part of why I had so much trouble embracing my cultural identity was because I didn’t see empowering representations of Asian people on screen. It felt like we were always the butt of the joke. I am relieved that our industry has been showing an increasing trend toward diverse representation. As a filmmaker, I aim to propel this momentum, and I think “Lí” does just that.
Those who know me have likely heard me talk about this film at least once over the past three years. It’s an idea I’ve had brewing in my heart for quite some time. It has taken many forms, but moreover, it has become more of myself over time, absorbing the complexities of my mixed identity, my relationship with Mandarin, and my understanding of love. Now, it’s finally ready to come alive.
We are aiming to raise a minimum of $22K to cover the costs of production (as well as pre & post). These funds will be put toward locations, props and set design, camera and lighting equipment, VFX, stunt coordinators, intimacy coordinators, crew care (food, water, etc.), and more. This is an ambitious project. It’s not going to be easy turning Southern California into the magical world of “Lí,” so we need all the help we can get.
Our stretch budget of $28K will allow us to not simply make this film but make our dream for it come true. These additional funds would help us cover:
- Anamorphic Lenses - perfect for visually crafting our other-worldly world
- Professional Visual Effects - to pull you deeper into the story, not take you out
- Experienced Stunt Coordinator(s) - so we can really see the surreal actions and moments while keeping our talent safe.
- Festival Fees - so we can get this film in front of as many eyes as possible and allow it to make its greatest possible impact.
Every little bit of support goes a long way – every dollar, every follow, every share. Here are some ways you can help:
- PLEDGE TO DONATE TO OUR SEED&SPARK CAMPAIGN
- Financial support has the biggest impact as this film simply cannot get made without the necessary funds. Every penny adds up!
- FOLLOW THIS CAMPAIGN
- We need a total of 350 followers and donors to qualify for Seed&Spark x Gold House's AAPI Renaissance Rally, which could open doors to additional financial support and mentorship.
- SHARE THIS PAGE
- The more eyes we get on this page, the closer we can reach our goal.
- FOLLOW OUR INSTAGRAM (@li.shortfilm)
- By engaging with our content, you're helping us reach more and more people.
- SPONSORSHIPS
- If you or someone you know is affiliated with an organization who wants to support our cause, please connect through email ([email protected]).
- IN-KIND DONATIONS
- Food, equipment, location, and more! Email [email protected] to get in touch and establish how you can contribute to the project.
From the bottom of my heart, thank you! ⋆₊˚⊹♡
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Equipment Rentals
Costs $5,700
We need quality materials to help us create and support the otherworldly styles of the film.
VFX
Costs $2,000
VFX is an essential part of our film. Help us create immersive, visually stunning scenes to bring the magic of Li to life!
Catering & Craft Services
Costs $2,500
A happy and well-fed crew is more likely to be productive and cooperative. Help us provide snacks and drinks for our crew!
Stunt & Intimacy Coordinators
Costs $1,250
We want to ensure our actors are in safe and qualified hands on set, especially when it comes to the stunt and intimacy sequences.
Production Design
Costs $4,500
Production design is essential to bringing this film to life. Help us build the world of Lí!
Locations
Costs $3,250
Help us turn Southern California into the imagined and magical world of "Lí."
Hair & Makeup + Costumes
Costs $2,000
The look of each character is important to tell our story, especially their clothing and SFX makeup!
Share this update!
About This Team
Director - Jessie Li White
Jessie Li White is an award-winning multidisciplinary artist and filmmaker currently based in Los Angeles, CA. Her perspective and her work are meaningfully shaped by her upbringing in a multicultural and Asian household, surrounded by the swamplands and amusement parks of central Florida. Magical realism, relationship studies, and Chinese cultural practices have become recurring themes in her filmmaking. But above all, she is committed to diving deep into the core of human connection.
Jessie graduated with highest honors from the University of Florida, where she earned her Bachelor of Science in Media Production, Bachelor of Art in Visual Art Studies, and a certificate in graphic design. Her undergraduate works received recognition from the Television Academy Foundation, the Suncoast Regional Emmy’s, and more. She is now pursuing her Master’s of Fine Arts in Film and Television Production as an Annenberg Graduate Fellow at the University of Southern California, where she continues to sharpen her skills as a writer, director, and producer.
Producer - Natalie Jenq
Natalie Jenq is a 23 year old Taiwanese-American filmmaker. She graduated from the W. P. Carey School of Business and Sidney Poitier New American Film School at Arizona State University in 2023 with degrees in both Management and Marketing, while pursuing minors in Film and Data Analysis. Now, she is pursuing her MFA degree in Film and Television Production at the USC School of Cinematic Arts.
Throughout her career, she has had the opportunity to work for NBCUniversal, Universal Pictures, and The New York Times, while producing and acting in a handful of short films. She believes storytelling is the best way to bring people together and is excited to help Jessie bring this film to life!
Producer - Nick Grimaldi
Nicholas Grimaldi is finishing up his fourth semester at USC's School of Cinematic Arts. Before entering USC, he graduated from Vanderbilt University, receiving a degree in Computer Science and Cinema and Media Arts. He recently produced the short film, “Igor,” for USC’s prestigious 546 Production Three class. Outside of USC, his most recent film, “On the Dying Grass,” won Best Student Film at the 24th Beverly Hills Film Festival and the Special Jury Award at the 57th WorldFest Houston International Film Festival. He is also the recipient of Vanderbilt University's first Artificial Intelligence Grand Challenge grant after creating "On the Dying Grass," a film about the negative impact of AI on the film industry. His films have tackled the topics of identity and isolation in modern culture from the impact of technology. He is excited to produce Lí because of his lifelong love for films that blend drama with magical realism.
First Assistant Director - Mehran Jafari
Mehran Jafari is a first year MFA student at the University of Southern California. Before USC, Mehran worked as a production assistant on Severance S2, A Complete Unknown, and Insidious: The Red Door. In his free time he likes to go to concerts and hike through the national parks. His favorite movies include The Royal Tenenbaums and Aftersun
Director of Photography - Elisabetta Fox Piantioni
Elisabetta Fox Piantoni is an Italian cinematographer based between Rome and Los Angeles. She earned her MFA in Film Production at the University of Southern California, where she shaped her career as an aspiring cinematographer with works that spread and deepen the discovery of different stories and cultures and, ultimately, making an impact both visually and socially.
She is a lover of narrative documentaries, that narrate true stories and entertain while also educating the viewers with images that hopefully ignite conversations and change. Her love for the outdoors also pushes her to aim at shooting movies that make use of natural landscapes by shaping, chasing, and enhancing light and working around nature’s cycles.
Production Designer - Ariel Huang
Ariel is a LA-based production designer, art director and scenic designer working across film, television, commercials, music videos, and theater. With a keen eye for storytelling and a deep understanding of spatial design, she specializes in crafting immersive, visually compelling environments that bridge reality and surrealism.
Ariel has collaborated with global brands and artists, including Coca-Cola, ROG ASUS, Legacy Taipei, and more, bringing their visions to life through meticulously designed spaces that enhance narrative depth and audience engagement. Her work seamlessly blends aesthetic innovation with practical functionality, making her a sought-after designer in the entertainment and advertising industries.
She holds an MFA in Theater Design with a specialization in Scenic Design from the California Institute of the Arts and a BA in Product Design from Shih Chien University. Her background in both theater and product design informs her multidimensional approach, allowing her to craft evocative worlds that resonate with audiences on screen and stage alike.
Editor - Catarina Forbes
Catarina Forbes is a Brazilian filmmaker born and raised in the city of São Paulo. Currently in her second year as an MFA candidate at USC, her ultimate career goal is to make audiences feel as passionate as she is about the art form through her work as a writer and director. At USC, Catarina is focusing more and more on her work as an editor, which started even before her undergrad back at FAAP, where she edited the short “A Home Fan Match”, which she also wrote and directed, selected to festivals such as the "Mostra de Cinema de Tiradentes", one of the most prestigious film festivals in Brazil. At USC, under the mentorship of Nancy Forner, ACE; and having classes with Jason Rosenberg, ACE; Catarina has edited two capstone projects: the pilot episode of comedy series “Welcome to Aloha”, directed by Derek Manansala, and the short film “Igor”, directed by Steven Fox. Catarina is also set to edit two upcoming USC thesis films currently in pre-production: “Lí”, written and to be directed by Jessie Li White, and “Damascene Yasmine”, written and to be directed by Ray Shehadeh.
Editor - Xinhui Wang
Xinhui Wang was born and raised in a small city in China, where winter stretched on for what felt like an eternity, covering everything in snow for half the year. But inside her home, there was warmth—especially when movies were playing. At six years old, she fell in love with film, believing it to be pure magic. After all, it was one of the few things that could make her dad laugh, and anything with that kind of power had to be special.
Now, freshly graduated from USC, and fully committed to the craft, Xinhui spends most of her time in editing suites, movie theaters, or, let’s be honest, her own room, which doubles as both. She believes that editing isn’t just about cutting scenes together; it’s about shaping emotions, telling stories, and, in a way, still creating a little bit of magic.
Sound Designer - Ethan Thomas
Ethan Thomas, is a sound designer and musician from Fort Myers, FL and a current graduate student at the USC School of Cinematic Arts. He began playing in rock bands at the age of 13 after his dad taught him to play the drums, a passion they both now share. Ethan continued playing in rock bands in the underground music scene until making his first film 2020. Now, as a student at the USC School of Cinematic Arts, he continues to unite his passion for music and film through sound design.
Sound Designer - Shufan Zhang
Shufan Zhang is a Beijing- and Los Angeles-based post sound professional, currently pursuing his Master’s in Film and Television Production at USC. With a background in producing, he brings a strong sense of story and collaboration to his sound work.
Drawn to the emotional precision of post sound, Shufan shifted his focus after realizing how powerfully sound shapes mood and meaning. He approaches each project with calm intention, using sound as a subtle but essential layer of storytelling—an emotional undercurrent that’s often felt more than heard.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Lí takes a literal interpretation of the fēn lí superstition, which says that because “分离“ (separation) and “分梨“ (sharing pears) are both pronounced “fēn lí,” sharing a pear with a loved one will sever your relationship. Taking this, we enter a story of magical realism, folklore, romance, and coming-of-age.
MEI and ELLIOT are two reckless high school sweethearts who are utterly in love and driven entirely by that unfounded confidence and ferocity that teenagers often have.
After school one day, Mei and Elliot take a risk: They steal a pear from the backyard of the terrifying and mysterious Shenmi Nai Nai. The two ignore the warnings and share the pear in an act of dismissal and defiance. Next thing they know -- they’re blasted apart.
The couple quickly realizes that they cannot come within arm’s reach of each other and any attempt to do so causes severe physical pain: literal heartache.
If there’s any hope of finding a solution, it has to be done before the impending lunar new year. When the only person who can help – Shenmi Nai Nai – firmly backs the couple’s deserved punishment, Mei and Elliot must face language barriers, cultural incompetence, and the true strength of their love to protect their relationship.
CROSS-GENERATIONAL CULTURAL DISSONANCE
“Lí” examines how culture shifts and often dilutes as each generation hands it off to the next. In the story, Mei and Elliot face their differing levels of cultural competence, raising the question: What responsibility do we have to our cultures and our lineages? The age gap between Shenmi Nai Nai and the kids will be striking, through character as well as appearance. We’ll observe how these differently aged characters engage with their world and culture.
LANGUAGE BARRIERS
How much can you say without words?
Shenmi Nai Nai only speaks Mandarin. Mei only speaks English. Elliot knows a little Mandarin, but only really speaks English. These facts define the dynamics and relationships between all the characters.
The Chinese dialogue will not be subtitled. I believe the most effective way to comment on language barriers is to let the audience experience them first-hand. Let them join in on the characters’ confusion and frustration. With some viewers understanding both languages and some viewers understanding neither, the linguistic dynamic amongst the audience will parallel that of the characters.
LOVE & RELATIONSHIPS
Though they may not realize it, Mei and Elliot are still kids. They’re still figuring out life and they’re definitely still figuring out love. The curse tests the bounds of their relationship and questions: What makes love worth fighting for? How far will they go for their love? What does distance do to connection?
“Lí” takes place in a world that is not real – though it is a metaphor for very real and very common feelings of cultural clash. It’s not America. It’s not China. It’s some world in-between – a nondescript place where these cultures merge.
I intend to make bold visual and stylistic choices with this film. I am largely inspired by the visual and tonal stylings of East Asian Cinema and contemporary East Asian surreal and editorial photography – artists like photographer Cho Gi Seok, whose art creates new worlds powerfully ruled by emotion. I will support the film’s magical realism with these bold artistic choices.
Cinematographically, there will be a shift that occurs at the instant the spell is cast. Pre-spell, we’ll be shooting on spherical lenses with lots of handheld motion to bring us into the world of these teens – reckless, care-free, and fun. It’ll be like another friend is filming. But once the spell is cast, we switch to anamorphic lenses, emphasizing the mysticism of the world we have entered.
We will also introduce split screens as a visual motif after the spell is cast. The split screen will parallel the split between the characters, in some ways emphasizing their separation while still showing them side by side. They are still one love.
When it comes to the forces and energies that keep Mei and Elliot apart, I want to visually twist, bend, and reshape the world. Something untraditional, perhaps closer to the fine art world.
“Lí” isn’t a simple love story. It’s a film about modernity vs. tradition and cross-generational cultural dissonance. As multi-racial first-gen Chinese-American, I have always felt this dissonance in my veins. I am constantly straddling different cultures and customs, and it took me a heartbreaking amount of time to finally fully appreciate my Chinese heritage.
As I’ve gotten older, a powerful sense of responsibility has bubbled up in my heart. I feel fiercely protective of the history, people, and culture that came before me. This film honors our traditions and reminds my younger self (and any young first-gen) to respect, accept, and celebrate her cultural heritage.
I am a huge believer in the power of diversity and representation on screen. A large part of why I had so much trouble embracing my cultural identity was because I didn’t see empowering representations of Asian people on screen. It felt like we were always the butt of the joke. I am relieved that our industry has been showing an increasing trend toward diverse representation. As a filmmaker, I aim to propel this momentum, and I think “Lí” does just that.
Those who know me have likely heard me talk about this film at least once over the past three years. It’s an idea I’ve had brewing in my heart for quite some time. It has taken many forms, but moreover, it has become more of myself over time, absorbing the complexities of my mixed identity, my relationship with Mandarin, and my understanding of love. Now, it’s finally ready to come alive.
We are aiming to raise a minimum of $22K to cover the costs of production (as well as pre & post). These funds will be put toward locations, props and set design, camera and lighting equipment, VFX, stunt coordinators, intimacy coordinators, crew care (food, water, etc.), and more. This is an ambitious project. It’s not going to be easy turning Southern California into the magical world of “Lí,” so we need all the help we can get.
Our stretch budget of $28K will allow us to not simply make this film but make our dream for it come true. These additional funds would help us cover:
- Anamorphic Lenses - perfect for visually crafting our other-worldly world
- Professional Visual Effects - to pull you deeper into the story, not take you out
- Experienced Stunt Coordinator(s) - so we can really see the surreal actions and moments while keeping our talent safe.
- Festival Fees - so we can get this film in front of as many eyes as possible and allow it to make its greatest possible impact.
Every little bit of support goes a long way – every dollar, every follow, every share. Here are some ways you can help:
- PLEDGE TO DONATE TO OUR SEED&SPARK CAMPAIGN
- Financial support has the biggest impact as this film simply cannot get made without the necessary funds. Every penny adds up!
- FOLLOW THIS CAMPAIGN
- We need a total of 350 followers and donors to qualify for Seed&Spark x Gold House's AAPI Renaissance Rally, which could open doors to additional financial support and mentorship.
- SHARE THIS PAGE
- The more eyes we get on this page, the closer we can reach our goal.
- FOLLOW OUR INSTAGRAM (@li.shortfilm)
- By engaging with our content, you're helping us reach more and more people.
- SPONSORSHIPS
- If you or someone you know is affiliated with an organization who wants to support our cause, please connect through email ([email protected]).
- IN-KIND DONATIONS
- Food, equipment, location, and more! Email [email protected] to get in touch and establish how you can contribute to the project.
From the bottom of my heart, thank you! ⋆₊˚⊹♡
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Equipment Rentals
Costs $5,700
We need quality materials to help us create and support the otherworldly styles of the film.
VFX
Costs $2,000
VFX is an essential part of our film. Help us create immersive, visually stunning scenes to bring the magic of Li to life!
Catering & Craft Services
Costs $2,500
A happy and well-fed crew is more likely to be productive and cooperative. Help us provide snacks and drinks for our crew!
Stunt & Intimacy Coordinators
Costs $1,250
We want to ensure our actors are in safe and qualified hands on set, especially when it comes to the stunt and intimacy sequences.
Production Design
Costs $4,500
Production design is essential to bringing this film to life. Help us build the world of Lí!
Locations
Costs $3,250
Help us turn Southern California into the imagined and magical world of "Lí."
Hair & Makeup + Costumes
Costs $2,000
The look of each character is important to tell our story, especially their clothing and SFX makeup!
Share this update!
About This Team
Director - Jessie Li White
Jessie Li White is an award-winning multidisciplinary artist and filmmaker currently based in Los Angeles, CA. Her perspective and her work are meaningfully shaped by her upbringing in a multicultural and Asian household, surrounded by the swamplands and amusement parks of central Florida. Magical realism, relationship studies, and Chinese cultural practices have become recurring themes in her filmmaking. But above all, she is committed to diving deep into the core of human connection.
Jessie graduated with highest honors from the University of Florida, where she earned her Bachelor of Science in Media Production, Bachelor of Art in Visual Art Studies, and a certificate in graphic design. Her undergraduate works received recognition from the Television Academy Foundation, the Suncoast Regional Emmy’s, and more. She is now pursuing her Master’s of Fine Arts in Film and Television Production as an Annenberg Graduate Fellow at the University of Southern California, where she continues to sharpen her skills as a writer, director, and producer.
Producer - Natalie Jenq
Natalie Jenq is a 23 year old Taiwanese-American filmmaker. She graduated from the W. P. Carey School of Business and Sidney Poitier New American Film School at Arizona State University in 2023 with degrees in both Management and Marketing, while pursuing minors in Film and Data Analysis. Now, she is pursuing her MFA degree in Film and Television Production at the USC School of Cinematic Arts.
Throughout her career, she has had the opportunity to work for NBCUniversal, Universal Pictures, and The New York Times, while producing and acting in a handful of short films. She believes storytelling is the best way to bring people together and is excited to help Jessie bring this film to life!
Producer - Nick Grimaldi
Nicholas Grimaldi is finishing up his fourth semester at USC's School of Cinematic Arts. Before entering USC, he graduated from Vanderbilt University, receiving a degree in Computer Science and Cinema and Media Arts. He recently produced the short film, “Igor,” for USC’s prestigious 546 Production Three class. Outside of USC, his most recent film, “On the Dying Grass,” won Best Student Film at the 24th Beverly Hills Film Festival and the Special Jury Award at the 57th WorldFest Houston International Film Festival. He is also the recipient of Vanderbilt University's first Artificial Intelligence Grand Challenge grant after creating "On the Dying Grass," a film about the negative impact of AI on the film industry. His films have tackled the topics of identity and isolation in modern culture from the impact of technology. He is excited to produce Lí because of his lifelong love for films that blend drama with magical realism.
First Assistant Director - Mehran Jafari
Mehran Jafari is a first year MFA student at the University of Southern California. Before USC, Mehran worked as a production assistant on Severance S2, A Complete Unknown, and Insidious: The Red Door. In his free time he likes to go to concerts and hike through the national parks. His favorite movies include The Royal Tenenbaums and Aftersun
Director of Photography - Elisabetta Fox Piantioni
Elisabetta Fox Piantoni is an Italian cinematographer based between Rome and Los Angeles. She earned her MFA in Film Production at the University of Southern California, where she shaped her career as an aspiring cinematographer with works that spread and deepen the discovery of different stories and cultures and, ultimately, making an impact both visually and socially.
She is a lover of narrative documentaries, that narrate true stories and entertain while also educating the viewers with images that hopefully ignite conversations and change. Her love for the outdoors also pushes her to aim at shooting movies that make use of natural landscapes by shaping, chasing, and enhancing light and working around nature’s cycles.
Production Designer - Ariel Huang
Ariel is a LA-based production designer, art director and scenic designer working across film, television, commercials, music videos, and theater. With a keen eye for storytelling and a deep understanding of spatial design, she specializes in crafting immersive, visually compelling environments that bridge reality and surrealism.
Ariel has collaborated with global brands and artists, including Coca-Cola, ROG ASUS, Legacy Taipei, and more, bringing their visions to life through meticulously designed spaces that enhance narrative depth and audience engagement. Her work seamlessly blends aesthetic innovation with practical functionality, making her a sought-after designer in the entertainment and advertising industries.
She holds an MFA in Theater Design with a specialization in Scenic Design from the California Institute of the Arts and a BA in Product Design from Shih Chien University. Her background in both theater and product design informs her multidimensional approach, allowing her to craft evocative worlds that resonate with audiences on screen and stage alike.
Editor - Catarina Forbes
Catarina Forbes is a Brazilian filmmaker born and raised in the city of São Paulo. Currently in her second year as an MFA candidate at USC, her ultimate career goal is to make audiences feel as passionate as she is about the art form through her work as a writer and director. At USC, Catarina is focusing more and more on her work as an editor, which started even before her undergrad back at FAAP, where she edited the short “A Home Fan Match”, which she also wrote and directed, selected to festivals such as the "Mostra de Cinema de Tiradentes", one of the most prestigious film festivals in Brazil. At USC, under the mentorship of Nancy Forner, ACE; and having classes with Jason Rosenberg, ACE; Catarina has edited two capstone projects: the pilot episode of comedy series “Welcome to Aloha”, directed by Derek Manansala, and the short film “Igor”, directed by Steven Fox. Catarina is also set to edit two upcoming USC thesis films currently in pre-production: “Lí”, written and to be directed by Jessie Li White, and “Damascene Yasmine”, written and to be directed by Ray Shehadeh.
Editor - Xinhui Wang
Xinhui Wang was born and raised in a small city in China, where winter stretched on for what felt like an eternity, covering everything in snow for half the year. But inside her home, there was warmth—especially when movies were playing. At six years old, she fell in love with film, believing it to be pure magic. After all, it was one of the few things that could make her dad laugh, and anything with that kind of power had to be special.
Now, freshly graduated from USC, and fully committed to the craft, Xinhui spends most of her time in editing suites, movie theaters, or, let’s be honest, her own room, which doubles as both. She believes that editing isn’t just about cutting scenes together; it’s about shaping emotions, telling stories, and, in a way, still creating a little bit of magic.
Sound Designer - Ethan Thomas
Ethan Thomas, is a sound designer and musician from Fort Myers, FL and a current graduate student at the USC School of Cinematic Arts. He began playing in rock bands at the age of 13 after his dad taught him to play the drums, a passion they both now share. Ethan continued playing in rock bands in the underground music scene until making his first film 2020. Now, as a student at the USC School of Cinematic Arts, he continues to unite his passion for music and film through sound design.
Sound Designer - Shufan Zhang
Shufan Zhang is a Beijing- and Los Angeles-based post sound professional, currently pursuing his Master’s in Film and Television Production at USC. With a background in producing, he brings a strong sense of story and collaboration to his sound work.
Drawn to the emotional precision of post sound, Shufan shifted his focus after realizing how powerfully sound shapes mood and meaning. He approaches each project with calm intention, using sound as a subtle but essential layer of storytelling—an emotional undercurrent that’s often felt more than heard.