What are the central themes presented in Ai Weiwei’s documentary Animality? How does Ai Weiwei’s earlier work connect to the contemporary issues explored in this film? In what ways does the documentary challenge the viewer’s perception of the human-animal relationship? How does Ai Weiwei utilize his unique background and experiences in his approach to opera, specifically in Turandot? What impact does the urbanization mentioned in Animality have on the relationship between humans and animals? How does the portrayal of animal suffering in Animality provoke a broader reflection on humanity?
CPH:DOX, the renowned documentary festival in Copenhagen, is presenting what might be called an Ai Weiwei double feature.
On Wednesday, the festival hosts the world premiere of Animality, the great Chinese artist’s latest documentary. And later today it welcomes audiences for the international premiere of Ai Weiwei’s Turandot, a film directed by Maxim Derevianko about the artist’s production of the classic Puccini opera.
Animality takes viewers on a journey around the world, examining the relationship between humans and animals – some traditional, like men in Kham, Tibet who tote hay up mountainsides to feed starving yaks, and others industrial in scale, like egg production and chicken processing in Hubei, China, and mink farming in Denmark. In many scenes, the suffering of animals at human hands is apparent and yet the tone of the documentary remains even and nonjudgmental.
“What I like about documentary,” he tells Deadline in an interview at his hotel in Copenhagen, “is it doesn’t represent the single voice, but a more objective observation as a record or, I would say, as some kind of proof… I love documentary only because it reflects the reality, not one person’s opinion. Very often we see documentaries are so much about the maker’s narrative, judgment or taste or style, which I don’t enjoy that part.”
The title treatment for Animality is seen over ancient cave paintings dating back as far as 40,000 years ago when the link between animal and human was intimate and profound.
“Sacred relationship is from the very beginning,” Ai Weiwei observes. “If you look at the cave paintings or early Chinese objects like jade carving, [you] see animals carry an important message as a god. Many gods at that time could be birds or could be a tiger or could be a dragon. But that [was a] time with limited information, knowledge. So, they say animals have equal importance as human beings. But of course, not today. Only thing you see in the supermarket, meat is boxed, wrapped in plastic.”
Increasing urbanization in contemporary society has brought a further separation from many animals. “Most people do not have any real relations or contacts with chicken, pigs, cows, not even to see other animals,” he says. “Disconnected.”
In some scenes of the film, the relationship remains much closer as in Myanmar, where loggers use elephants to move giant trees felled for timber. “The elephant still can coexist with human because humans want to employ them as a machinery for productivity,” the filmmaker says. “You can clearly see that to [move] those cut logs, only the elephant can do that job. And you see how difficult it is doing that.”
Even in that context, modernity intrudes. “But suddenly, the forest is almost gone, and it is forbidden for much forest cutting. And the elephants just lost their job. Not only the animal, the one who feeds the animal also lost their job.”
In Paragominas, Brazil, Animality shows the clear-cutting of the rainforest to make room for more cattle ranching and meat production. This loss of “the lungs of the earth” contributes to climate change and could eventually spur mass migration as people flee habitats that have become unlivable (in this sense, Animality connects with Ai Weiwei’s earlier documentary, Human Flow, which examined human migration caused by political and environmental factors).
“I think we cannot just point a finger to a single issue,” he says of the climate crisis. “We should understand the human condition in today’s world where humans existing is a pure miracle, or all other life. But very often, we see the other animals are not ruling the world, but only humans. [Humans] sacrifice other life and dominate too, arrogantly. All arrogance is some kind of stupidity.”
Animality contains many disturbing scenes, like in a part of China where authorities kill stray dogs that are deemed a nuisance (in one sequence a couple is roughed up by uniformed men after they protest the killing of their dog who was mistakenly considered a stray. This recalls a scene in Alison Klayman’s 2012 documentary Ai Weiwei: Never Sorry, in which the artist was beaten by Chinese police). Another scene, filmed in Cairo, shows men smacking camels with sticks to herd them; some of the animals have one of their four legs tied up and bent at the knee, forcing them to hop around awkwardly.
“It puts everyone in the position to rethink about humanity,” the director notes. “We [need] only see how we treat animals to understand who we are.”
Ai Weiwei has directed 20 films covering a wide variety of topics. His 2020 documentary Vivos examined the shocking disappearance of a group of students who were seized in Mexico’s Guerrero state. His 2021 film Rohingya centered on the world’s largest refugee camp, erected in Cox’s Bazar, Bangladesh to house refugees fleeing oppression and death in Myanmar. His intellectual and artistic interests are vast, but he had never considered directing an opera until he was approached about helming a production of Puccini’s Turandot for Rome’s opera house.
In many ways, it was a curious offer, given that Ai grew up in a sonically limited area of Northeast China (his father, poet Ai Qing, was dispatched along with his family to a labor camp in Beidahuang, Heilongjiang in the late 1950s after running afoul of the government).
“I am almost immune to music, not only opera, because I grew up in silence. I have to show you an image,” he says, going through his phone to display a photo of an entrance to a subterranean dwelling. “That’s where I grew up. It’s my father in that black hole. So, no music. We have insects that make this zzzz sound in the field or some birds, but it’s hard [even] for birds to survive… So, silence is my music and [I’ve] never been trained or used to listen to music.”
Nonetheless, he had a connection to Turandot. In 1988, as a young man living in New York with his brother, Franco Zeffirelli cast the siblings in a production of Turandot that the Italian director was mounting at the Metropolitan Opera at Manhattan’s Lincoln Center.
“I heard that they want some Chinese faces in the production,” he recalls. “I and my brother have nothing to do. So we went there [to auditions] and I see Zeffirelli on the other end of the stage look at us, he said, okay, we look perfect, like Mongolian face. So I was wondering what do they want me to do?”
It turned out Zeffirelli gave him a bigger part than Ai had expected. “I found out I’m not just an extra running on stage… They wanted my face to be shown, so they [cast] me as the executioner’s assistant. I have to help the executioner to polish his knife.”
For those performances, he recalls, “We get about $3 an hour. Of course, $3 brings us a lot of joy because Lincoln Center is not far from a 72 Street Broadway, which has Gray’s Papaya hot dog restaurant. You buy one, you get another one free.”
We asked if that meant he got one hot dog, and his brother got the other one.
“No, two for me, two [for my brother]. Then we have a large glass of papaya drink,” he says. “That was joy.”
The request that he direct the Rome opera production of Turandot, then, was one he really couldn’t decline, even if that kind of thing is not his métier.
“It was very difficult,” he concedes. “I know it’s going to be difficult because it is something you can’t completely build yourself. It’s more like to do a renovation to a castle. You have to keep the structure, which is the music, the storyline, but do the total others like design of the movement… costumes and everything else. Which is kind of a struggle because I’m more used to destroy or rebuild. I’m not very good in renovation. I like renovation, but I still feel it’s too many restrictions.”
Turandot, left uncompleted at Puccini’s death in 1924, tells a mythical story of an icy princess who sets a challenge to anyone seeking her hand in marriage. A suitor must correctly answer three riddles to become her betrothed, with a wrong answer resulting in death. Inevitably, the Italian composer viewed China from a Westerner’s perspective, emphasizing exoticism and revenge. Ai takes an innovative approach, modernizing the production in multiple respects.
“Ai Weiwei’s first operatic staging (direction, sets, costumes and videos) is controversial, a gigantic, enjoyable funfair where the artist’s radical and intellectual quirks are displayed in all their glory,” says a review published by Bachtrack.com. “Videos and computer animations from present times are projected, quite unconnected to the plot’s dramaturgy, but dealing with some iconic moments: anti-government protests and their suppression in Hong Kong, refugees in Ukraine, flying bombs.”
Ai Wei Wei is not only an artist and filmmaker, but an activist. There is a political dimension to much of his work, sometimes subtle, sometimes overt. In Animality, the viewer is left to draw political or moral conclusions if they wish. His production of Turandot can be experienced as musical entertainment. But even there the story of a princess — daughter of an emperor — allows one to draw comparisons to contemporary times.
“As long as human society exists, we have an emperor in different forms in every society,” he says. “Even in Denmark. And it’s just the power may be more heightened, more blurred and people don’t even know who the emperor is… If individuals cannot really exercise their rights and cannot affect the larger political condition, that means certain power is existing.”
Ai Weiwei Brings Two Films to CPH:DOX – ‘Animality’ and ‘Turandot’
The Danish International Documentary Film Festival, CPH:DOX, is renowned for showcasing impactful documentaries that challenge societal norms and provoke thought. This year, the festival welcomes the groundbreaking Chinese artist and activist Ai Weiwei, who is set to present two of his compelling films: "Animality" and "Turandot." Drawing from his distinctive artistic vision and his unwavering commitment to exploring human rights and social justice, both films encapsulate Weiwei’s ongoing exploration of the themes of identity, power, and the human condition.
Exploring ‘Animality’
"Animality" is a deeply reflective film that traverses the intricate relationship between humans and animals. In this work, Ai Weiwei draws parallels between animal behaviors and human life, inviting audiences to dissect the often-overlooked aspects of our shared existence. The narrative unfolds in a serene yet enigmatic manner, emphasizing the primal instincts and emotions that intertwine both species.
Filmed in a variety of compelling settings, "Animality" captures the raw and poignant moments of animals in their native habitats. The cinematography is breathtaking, with shots of animals demonstrating vulnerability, aggression, and tenderness, echoing the same traits found in human society. This cinematic experience goes beyond mere observation; it transcends into a philosophical inquiry about our relationship with the natural world.
Ai Weiwei uses this platform to challenge consistent human-centered narratives. By exploring how animals navigate their existence – from communal behaviors to struggles for survival – he compels viewers to confront the ethical considerations of how we treat these sentient beings. The film seeks to evoke empathy and promote a deeper understanding of life’s interconnectedness, making a compelling case for animal rights and advocacy.
Moreover, "Animality" amplifies important conversations about the impact of human actions on the environment and the catastrophic consequences of climate change. Ai Weiwei does not shy away from highlighting the damaging effects of industrialization and consumerism on the habitats of these creatures, urging audiences to reconsider our responsibilities towards nature. His poignant observations and powerful imagery serve as a clarion call to foster a more harmonious coexistence between humanity and the animal kingdom.
Unpacking ‘Turandot’
In stark contrast to "Animality," Ai Weiwei’s "Turandot" takes audiences into the realm of opera, reinterpreting Giacomo Puccini’s famed opera through a contemporary lens. This film adaptation grapples with themes of power, control, and rebellion, resonating deeply with Ai Weiwei’s own experiences as an artist and activist.
"Turandot" is a tale steeped in intrigue, centering on the icy princess Turandot who requires suitors to solve a series of riddles to win her hand. Failure results in dire consequences. Through this allegory, Ai Weiwei taps into the dynamics of authority and the struggle for autonomy, themes that resonate powerfully in today’s sociopolitical landscape.
Visually striking and narratively complex, "Turandot" is more than a mere performance; it is a commentary on the current state of the world. As Ai Weiwei delves into the characters’ psychological depths, viewers are presented with a reflective space to contemplate the nature of tyranny and the liberation from oppressive structures. The opera, traditionally portrayed as grand and regal, here becomes a visceral examination of human rights issues, drawing subtle parallels with Weiwei’s own activism against authoritarian regimes.
Through his innovative direction, Ai Weiwei weaves real-life footage of protests, political unrest, and the fight for freedom into his operatic vision. This multilayered approach blurs the lines between art, performance, and activism, creating a rich tapestry that resonates with existential urgency. The film compels audiences to reflect on their own roles within societal structures, challenging them to engage in dialogue about power, oppression, and resistance.
The Impact of Ai Weiwei’s Work
Ai Weiwei’s contributions to contemporary art and film are profound. His works often serve as a mirror reflecting the complexities of modern society, pushing viewers to question their perceptions and confront uncomfortable truths. Both "Animality" and "Turandot" illustrate this ethos, providing stimulating reflections on humanity’s place within the broader ecosystem and within its own societal structures.
As the CPH:DOX festival opens its doors to Ai Weiwei, audiences can expect not only a showcase of art but an experience that invites introspection and action. The intersection of art and activism in his films underscores their relevance in today’s rapidly changing world, urging viewers to consider their own responsibilities within these narratives.
In conclusion, Ai Weiwei’s return to the screen with "Animality" and "Turandot" underscores the potency of cinema as a vehicle for social commentary. As discussions around art and activism continue to evolve, Weiwei’s work stands as a powerful testament to the art of provocation, empathy, and the relentless pursuit of justice. As CPH:DOX embraces these films, it reignites conversations about the intermingling of humanity and nature, identity and advocacy, making it a must-see event for those interested in the transformative power of cinema.
Ai Weiwei, the renowned Chinese artist and activist, has made a notable impact at the CPH:DOX film festival with the presentation of two significant films: “Animality” and “Turandot.” These films showcase his unique perspective and artistic vision, blending themes of humanity, culture, and social commentary.
In “Animality,” Ai Weiwei explores the relationship between humans and animals, delving into issues of identity, existence, and the ethical treatment of living beings. The film challenges viewers to reconsider their preconceived notions about what it means to be human and how we coexist with other species. Through profound imagery and thoughtful narration, Ai Weiwei prompts an introspective examination of our world.
On the other hand, “Turandot,” inspired by Puccini’s famous opera, reflects Ai Weiwei’s artistic reinterpretation of cultural narratives. The film weaves together elements of performance and visual art, highlighting themes of power, love, and the complexities of societal norms. By using a familiar story as a backdrop, Ai Weiwei invites audiences to reflect on contemporary issues while maintaining a dialogue with history and tradition.
Both films exemplify Ai Weiwei’s commitment to engaging with pressing social issues through his art. His work continues to resonate not only within the realm of visual arts but also in the domain of film, encouraging audiences to reflect on the intricacies of life and the human condition. As his films screen at CPH:DOX, they contribute to the festival’s mission of fostering meaningful conversations and promoting artistic expression.