We recently connected with Ningyi Sun and have shared our conversation below.

Alright, Ningyi thanks for taking the time to share your stories and insights with us today. Do you wish you had started sooner?

What is remarkable about art is that you can start anytime. Personally, I do not wish I had commenced it sooner because, had I done so, I would not have gained such a profound understanding of myself or discovered what I truly cared to express or change; I would not have had the opportunity to visit countries like Brazil, Singapore, and the Central African Republic, where I had to forge friendships and collaborate with individuals from vastly different cultural and social backgrounds. This experience deepened my empathy and sensibility—qualities I consider fundamental for creativity; I would not have stumbled upon my first documentary film, which opened doors to the industry.

However, I would not advise anyone to wait—wait until you’ve mastered editing, wait until you’ve found subjects for your film, wait until you feel sufficiently connected. Instead, I’d suggest staying true to yourself and your emotions. Is there an intense urge to express something, so strong that it renders your food tasteless, your mind wandering, and your heart racing? What is it? Why does it matter to you? Follow that urge. You don’t need to venture out to bring back a film; you just need to step out.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I am a 34-year-old Chinese woman residing in New York City, working as a film director, writer, and actor, with a background in international relations. Proficient in English, Mandarin, Portuguese, and French, I previously served as a United Nations Volunteer in the Central African Republic. While maintaining stability through a regular job in international affairs, I passionately pursue a career in filmmaking.

My most transformative period occurred during the 15 months in Bangui, the Central African Republic, where I worked as a UNV. Here, I experienced significant personal growth by coexisting and engaging with individuals from vastly different backgrounds. It was during this time that my passion for filmmaking blossomed, particularly through directing and co-producing ‘Eat Bitter,’ collaborating with an international team comprising Central Africans, Chinese, French, and Americans.

The film received generous financial support from Sundance, The Ford Foundation, Chicken&Egg Pictures, Hot Docs Blue Ice, IDFA Bertha Fund, Alter-Cine, and DocAfrica. In March 2023, Eat Bitter world-premiered at CPH:DOX and has since been selected for about 30 film festivals, including Hot Docs, Vision du Reel, Shanghai International Film Festival, Atlanta Film Festival, Melbourne Documentary Film Festival, Buffalo International Film Festival, Dok Leipzig, DMZ, DOC NYC and more. Currently, the film is in consideration for Oscars 2024.

I am presently engaged in the distribution of ‘Eat Bitter’ while simultaneously developing my debut fiction film. The film is inspired by the true story of a Chinese female immigrant who navigates employment in a massage parlor while confronting and resisting police harassment.

I am a proud member of A-DOC, Filmshop, Film Fatales, and Chicken&Egg AlumNest.

Is there a particular goal or mission driving your creative journey?

Creative journeys are rarely linear. Initially conceived as a short film, my first documentary feature, ‘Eat Bitter,’ initially aimed to explore the sand supply chain in Bangui, the capital of the Central African Republic. However, with a dedicated team of five members, we delved deeper into our characters’ stories and received production funding from prestigious platforms. Consequently, our focus shifted towards creating a feature-length documentary that illuminates how globalization profoundly impacts individual lives.

Throughout the creative process, your goals and visions for a project may evolve as you write, shoot, and collaborate with your team. Despite these changes, when crafting ‘Eat Bitter,’ one unwavering principle guided me: this film would forever carry my name. Hence, I refused to shape the film to align with trends or biases for commercial convenience. While industry dynamics may fluctuate, my original intent of presenting an authentic and intimate portrayal of Chinese and Central African families remained constant.

Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?

Having grown up in a censored society, I was accustomed to self-censorship. During the production of ‘Eat Bitter,’ I grappled with moments of uncertainty: was I portraying Chinese people unfavorably? However, as a film director, that concern was besides the point. Instead, I focused on the pertinent questions: What is my character’s journey? What motivates them? What emotions drive them? As I worked in an international team comprising Central Africans, French, and Americans, I realized the necessity of unleashing my creative potential, which required the liberation of thoughts.

However, it does not mean there exists no limits to creating arts. Quite on the contrary, limitations spur creativity. Art is crafted within specific settings—a stage, a canvas—each with its defined boundaries.

Unlearning is to refresh and create new forms. Quoting from Rollo May’s “The Courage to Create” by , “The creative process is the expression of this passion for form. It is the struggle against disintegration, the struggle to bring into existence new kinds of being that give harmony and integration.”

Contact Info:

• Website: https://www.eat-bitter.com/
• Instagram: https://www.instagram.com/ningyisol/
• Facebook: https://www.facebook.com/profile.php?id=100011265392860
• Linkedin: https://www.linkedin.com/in/sun-ningyi-58a30533/