09-21-2017, 02:45 AM
Reserved for Laeralian entries.
Brushstrokes (2017)
Category: Best New IDU Film
Based partially on true events, Brushstrokes is a period drama focusing on the story of a young man who comes to the opulent colonial court of Duc Jean-Baptiste I, featuring themes of race, family, and loyalty.
Synopsis: The opening credits feature the camera panning down slowly toward an empty country road in mid-winter. As the camera moves, several lines of text are written on the screen in such a way as if it has been written with an ink brush. (The text, which appears one sentence at a time, reads: "In 1703, foreign conquerors appeared upon the shores of Laeral. The native R?n (1) people were unable to resist the superior technology of the invaders, and were soon violently forced into servitude. The power of the colonial regime suppressed dissent, and an entire people were subjugated. The Years of Woe began. It is now 1731, and Duc Jean-Baptiste and his followers believe they have quenched the fire of Laeralian resistance...")Snow covers the ground and trees, and the camera stops in front of a simple plum blossom, lightly coated in snow. The plum blossom, national symbol of Laeral and of the spirit and resilience of the Laeralian people, falls to the ground.
A horse-drawn carriage appears, moving quickly down the road. Inside, we see a nobleman of French descent and sitting across from him, a Laeralian adolescent of around 16. We learn that the young man, a poor villager named Yang Chia-hao, is being taken to the famed Autumn Court of the Laeralian colonial monarchy by the nobleman, the Marquis of Corday. Chia-hao asks why the Marquis has chosen him, and the Marquis replies that he is to serve as his personal secretary. When Chia-hao asks why he was chosen rather than someone who had been formally educated, the Marquis simply replies that he owes the boy's family a favor.
The carriage arrives at the Autumn Court of the Dukes of Laeral. The four courts of the monarchy are associated with opulence, intrigue, and lavish events in the Laeralian mindset, and the films plays heavily from this association, with the camera often emphasizing the luxurious furnishings and clothing. The Marquis takes Chia-hao inside, and into a new life.
The following half an hour is sometimes comical as Yang Chia-hao is introduced to the Marquis' family and staff, and adapts to life at Court in general. The Marquis tells Chia-hao that in order to succeed or be accepted at the court, he will need to adopt a new name. Chia-hao chooses the name Corvin, meaning 'dark-haired'. We are introduced to the Marquess, a woman who is kindly, but rather patronizing to Corvin. We are also introduced to the Marquis' only other servant- a sullen young woman named Li Hui-ju, whom the Marquis introduces as the Marquess's personal maid. This is rather bewildering to Corvin. Hui-ju seems determined to snub him, and seems to be an extremely bad servant: surly and uncaring. She also refuses to be addressed by her Christian name, ?lisabeth (2).
Corvin is also shown working as the Marquis' secretary. In a series of scenes, we see:
1). Corvin being shown to an ornate writing desk, and given paper and a fountain pen. He struggles to shape the words using the pen, although the Marquis compliments him on his penmanship.
2). Corvin still struggling to use the unfamiliar pen, while Hui-ju, who occasionally walks through the scene, watches the Marquis demonstrating the use of the fountain pen with a studious or impassive face.
3). Corvin is still struggling, and asks to use an ink brush, which is what his father trained him to use. The Marquis ultimately agrees to procure an ink brush.
4). The Marquis is dictating a letter, and Corvin is using the ink brush to write the French words.
In between scenes 1 and 2 above, Corvin is sent upon an errand to fetch a horse from the court stables. He goes to the stables, and asks the stable boys to help him saddle the horse. They do not respond, and instead remain where they are, leaning against a wall. Corvin asks again, more loudly, and the boys continue to ignore him. As he turns away, he sees one of the boys squint his eyes, in imitation of his own. Corvin grits his teeth, and turns toward the horse. He struggles to saddle the horse, having no idea how to do it. We hear one of the boys call out a racial slur towards him, and the other stable boys laugh. We see Corvin clench his jaw, his back going stiff, but he saddles the horse, stares straight ahead, and walks the horse out as the stable boys continue to mock him.
When Corvin brings the horse to the Marquis, the Marquis asks why the horse is so badly saddled. Corvin replies that there was no one at the stable to help him. The Marquis only nods in return.
Later on, the Marquis is sitting in bed reading as Corvin is writing a letter to his family back home. The Marquis sees the letter and admires the calligraphy, suggesting that Corvin should show his calligraphy to some 'acquaintances of mine with an interest in Laeralian culture'. Corvin agrees to make a demonstration piece, ultimately making the character for 'endure'. We see a small group of the nobility admiring the piece, and afterward, the Marquis tells Corvin that he should sell his work professionally. Corvin begins to write calligraphy and paint simple paintings in his spare time, and begins to sell them, often using exoticism as a sales tactic in order to do so. He begins to become known as a painter, and the wealthy and powerful begin to approach him for portraits, still life paintings, and calligraphy. We see him learning to paint in the Western style, as a way of increasing business. We see Corvin being paid large sums of money, and him sending it home to his family. He is invited to balls where he never would have been able to go before, and even embarks on a short-lived romance with a noblewoman which is ended when he finds that she is only interested in him to show him off to her friends and to rebel against her controlling parents. Around this time, the people of the Court, including Duc Jean-Baptiste (who has in fact never been seen in the movie so far) move to the Winter Court, which is located further south for warmth during the winter. The characters follow the Court there, except for Hui-ju, who leaves on an unspecified errand for several months.
Corvin decides to take a stroll in one of the palace gardens one night, and while he is there, runs into Hui-ju. He has been so busy with his life as a celebrated artist that he has not seen her recently. He begins to tell her about the successes he's had in the months that she's been gone, rambling on and on as she becomes steadily more angry. She accuses him of selling out to the colonialists, and of betraying his family and who he is. She continues in this vein for about a minute, ending by asking why he is content to 'be their little native lapdog' when atrocities are being committed against people like him every day. She ends by accusing him of 'prostituting' his life and talents, before turning on her heel and walking away as Corvin stands behind her, watching her go.
The following day, the Marquis asks Corvin to meet with him privately. In a deserted room in a corner of the Court, the Marquis reveals that another nobleman, the Comte de Beaupr?, has offered Corvin an incredible sum, 6000 livres, for a painting that Corvin had produced. The Marquis tells him that he is free to leave and establish himself as an independent artist at any time, and gives him a purse containing the money. Corvin bids farewell to the Marquis and Marquess, although Hui-ju is once again missing. He uses the money to rent a small 'shop' venue within the grounds of the Court, where he can sell his work to the nobility. We see him painting large pictures with an assortment of ink brushes and we see him selling those same paintings to wealthy buyers, helped by the fad for 'aboriginal' artwork at the time. He then receives a letter from home, telling him that his father is sick. Corvin closes the shop and hurries home. When he arrives in his hometown of Hengshan, he is shocked to see so many beggars upon the streets as well as soldiers patrolling to enforce levies upon the townsfolk. His father is sick in bed- the soldiers had forced him to work in road construction, and the hard labor and tainted drinking water have left him with an unknown, but deadly, disease (likely cholera). Corvin, moved by the plight of his hometown, helps his father recover from the disease and decides to give some of the money he has made to the people of Hengshan.
We see Corvin continuing to paint, and he uses many of the funds to help his hometown. He establishes a medical clinic, and works to buy food for the village, purchasing a carriage and horses in order to do so. Scenes of Corvin painting and selling his goods in the lavish surroundings of the Winter Court are then followed by scenes of him visiting Hengshan to oversee his charitable efforts. Around this time, Corvin meets a fellow artist named Beno?t Maugnier, who specializes in portraiture. The two begin to work together, and a romantic relationship is hinted at (see 'Production and Filming'). Later on, a man whom Corvin's clinic had been taking care of is released, and then forced to work on the roads once more, and he ultimately dies.
Saddened by what he has seen in his hometown, Corvin returns with Beno?t to the Winter Court. While they are returning, Beno?t states that given how many of the townspeople are sick or poor because of the forced road-building and high taxation, it could be more worthwhile to use their network of influential art buyers to try and stop this from happening. Corvin agrees with him, but is unsure how to make it work.
When they return to the shop Corvin has rented, they hear a knock at the door several days later. It is Hui-ju, who is very dirty and bruised, with a still-bleeding cut on her arm. Corvin has many questions to ask her, but she refuses to answer, only asking to stay with him for a few days.
Once she has recovered, she reveals that she has been working for a group of individuals dedicated to ensuring social change within Laeral, called the Peach Garden Congress (3). She says that she had been injured in the course of working for that goal. Corvin and Beno?t offer to assist that group, and she says that she will see what she can do. She then leaves, over their objections.
They do not hear back from Hui-ju, and so begin to organize a charity art show. However, she returns, saying that she needs them to help her convey a message. Apparently, an influential ally of the group is being closely watched by agents of the monarchy (the secretive 'Quatri?me Bureau' (4)), and a message is needed to be conveyed to him. Corvin suggests that he could perhaps hide a message within a work of his calligraphy. We see Corvin working ferociously on a poem in calligraphy, using tiny brushstrokes to hide a message within the picture of a fallen plum blossom in the lower corner of the painting. Having concealed a coded message, he then gives it to Hui-ju to deliver. At this point, the camera follows Hui-ju as she sneaks through the palace's deserted corridors disguised as a courier. A sentry stops her, she shows him the calligraphy, and he lets her pass. She then gives it as a 'gift' to the nobleman, returns to Corvin and congratulates him.
Corvin continues to do similar work for the Peach Garden Congress, concealing messages in works of art. He begins by simply providing funding for this organization as well as producing more messages hidden in art. He meanwhile continues his normal art career, designing new works as well. His success results in him gaining a prestigious commission, to illustrate an entire book for Duc Jean-Baptiste himself. This was an extraordinary honor, and would involve the illustration of a copy of a work of French literature, La Princesse de Cl?ves (5). Corvin will receie a vast sum of money for it, and will present it to the Duc himself in three months' time. Soon, however, Hui-ju approaches him. As the book is intended for Duc Jean-Baptiste himself, Hui-ju suggests that Corvin mix poison with his paint. When the Duc touches the book, the poison would seep through his skin, killing him in a way that would appear natural. She gives Corvin the vial of poison to mix with his paint, and urges him to place it in, so as to strike a blow against the monarchy.
Corvin, however, is unsure. He begins to work on his first illustration without mixing the poison in, telling himself he will put it in later. However, he becomes unsure if killing the Duc would be the right thing to do. Over several sleepless nights, he remembers his father urging him to 'act honorably', but also the cruelties inflicted by the Duc's men. As he continues working, moving further and further through the book, he sends his parents a letter, asking their advice. His father urges him not to use the poison, while his mother encourages him to. Corvin worries about possibly killing innocents, and cannot decide...
After taking a walk through a palace garden to reflect, he decides to use the poison. He mixes the poison with his paint, and begins the grim task of painting the remaining illustrations, using gloves to avoid coming in contact with the poisoned paint. The camera follows his brushstrokes as his illustrations become ever grimmer...
Finally, Corvin finishes the book and prepares for the formal ball at which he is to present it. We see the various characters dressing for the ball- Corvin, grim-faced, as the guest of honor, with the copy of La Princesse de Cl?ves contained in a gilded presentation box. Hui-ju, in a simple servant's outfit, concealing a dagger among her clothing. The Marquis and Marquess, dressing formally for the event. Beno?t, unsure of why Corvin has been so withdrawn lately, dressing himself. Duc Jean-Baptiste, being dressed by servants, unaware of the plot against his life.
The ball begins, with hundreds of nobility dancing and talking inside a massive ballroom. Corvin tries to smile at the admirers which surround him, congratulating him on having risen so far. The Duc enters the ballroom, speaking to his hangers-on and cronies. Corvin dancing with various noblewomen. Hui-ju tending the refreshments, pausing occasionally to shoot a glance at Corvin's box. The Marquis, aware of the plot, keeping an eye on Corvin with a worried expression. Beno?t, beginning to suspect that more is afoot than he knows, speaks to the Marquis, asking if the Congress has something planned for the night. The Marquis, denying all.
At last, the moment of presentation arrives. The musicians play as the Duc appears on the dais, and a carpet is laid out before Corvin. The Duc gives a speech to the assembled crowd, and they applaud, including Beno?t, the Marquis, and Hui-ju. The Duc beckons for Corvin to come forward, and he begins to walk slowly toward the Duc, afraid of what he is about to do. Corvin finally arrives at the dais, and, on his knees, presents the gilded box to the Duc. The Duc compliments Corvinfor creating the illustrations, and Corvin can only bear to nod. Finally, the Duc opens the cover, begins to turn the pages, admiring the illustrations. From around the ballroom, Hui-ju, the Marquis, and the other members of the Peach Garden Congress are watching intently.
Then, the Duc touches one of the illustrations.
Corvin gulps, and Hui-ju relishes a tight smile, certain she is about to see the Duc die. But then- he doesn't. The Duc continues to look through the book, touching more of the illustrations and complimenting Corvin on the artistry. Corvin struggles to conceal his shock, while the expression on Hui-ju's face changes from shock to anger to hard resolve. And then, the moment passes. The Duc finishes looking at the book and places it back in the presentation box before handing it to a servant. Corvin leaves the dais, trying to process what has just happened. Behind him, the Duc, eager to rejoin the festivities, walks down to speak with a cluster of advisers. As he is talking with those advisers, his group walks past Hui-ju. She leaps toward the Duc with her dagger in hand, seeking to kill him herself. She buries her dagger in the Duc's chest, pulling it out and stabbing him in the throat as he falls. As guards stationed around the perimeter of the room run toward the scene, she drops her dagger and surrenders. Guests begin to crowd around the Duc's body as Hui-ju is led away by a dozen guards. She looks Corvin in the eye and smiles, as Corvin can only gasp.
Following the ball, it is heard that Hui-ju has committed suicide in her cell before her inevitable trial and execution. The closing scenes of the movie see Corvin, Beno?t, and a group of previously un-introduced members of the Peach Garden Congress, including the Marquis, sitting around an table somewhere within the Court, raising a glass to Hui-ju's memory. The credits roll.
Notes:
(1): R?n, meaning 'people', is a term sometimes used to describe people of native Laeralian descent.
(2): During the colonial period, and in fact until fairly recently, many people were forced to take 'Christian' names in order to succeed and in order to avoid discrimination. However, in the 1980s and 90s, the R?n Pride movement championed the use of traditional names rather than European-style names.
(3): Many organizations in Laeralian culture, strangely enough, choose names based on an object (such as a type of flower) or article of clothing. This includes groups such as the Society of the Red Rose, the White Scarves, and the Order of the White Glove. The Peach Garden Congress was an informal association of colonial nobles opposed to the goals of Duc Jean-Baptiste. Many of its members were involved for purely ideological reasons, and did not intend to resort to force in order to achieve their goals.
(4): The 'Quatri?me Bureau' (Fourth Bureau) was a shadowy intelligence organization during the colonial period with a fearsome reputation, with the stated goal of preventing those who were plotting against the Crown.
(5): La Princesse de Cl?ves was a 1678 French novel written by the Comtesse de La Fayette (a relation of the well-known Marquis de La Fayette). It was a historical intrigue/romance novel that took place at the court of King Henri II, and was based on true events. It was also the favorite book of Duc Jean-Baptiste I of Laeral.
Characters:
Corvin: Hsu Chen-huan, a relatively young actor formerly involved in theater. This was his first major production.
Li Hui-ju: Aurelie Liao, an actress seen previously in movies and television.
Marquis de Corday: Olivier Beauvais, an actor who has had a long career in film.
Beno?t Maugnier: Laurent Rouillard
Duc Jean-Baptiste I: Paul Bonnell, an actor notoriously cast in villainous roles.
Production and Filming: Some scenes of Brushstrokes were filmed on location at the actual Autumn and Winter Courts, mostly exterior scenes. The Courts were restored in the 1990s, and are major tourist attractions today. The garden scenes are all on location. Many of the inside scenes at the court, including the final ball scene, were filmed on a soundstage. The movie was praised for its' attention to detail and historical accuracy, with many props being based on actual objects and a team of historians were hired in order to assure historical accuracy. The costumes were generally praised as well. The film caused some minor controversy for portraying Corvin being in a homosexual relationship with Beno?t, which is an interpretation the majority of historians agree upon today. Corvin never married, and recently discovered letters between him and Beno?t point to them having been in a relationship. Regardless, a small number of Laeralites threatened to boycott the movie, although the film did not in fact focus very much on Corvin's romantic life, preferring instead to focus on his life and art.
Language: Brushstrokes is in French, although English subtitles are provided for the showing.
Brushstrokes was rated 15+for distribution in Laeral.
Aurelie Liao
Category:Best Actor in an IDU Film
Birthdate: April 9th, 1983 in Jinhua province.
Occupation: Actress
Aurelie Liao is the second child of a middle-class family in Jinhua. She received above-average, although not spectacular, grades at school and was accepted to the University of Nanhai, where she majored in Acting and minored in Linguistics, receiving a Master's degree in the former. She took up modeling for several years after college, being unable to find a job. Her frst on-screen appearance was in 30-second advertisement for Chatime, a popular teahouse chain. Her notable film and TV roles are outlined below:
Champion of Chance
Aurelie Liao's breakout role was in Champion of Chance, a 2007 action/comedy movie about Devlin Chen, an Laeralite who travels the globe as an international high-stakes gambler with near-supernatural powers involving gambling. In this movie, Liao played Chen's girlfriend Yi-ling, the former mistress of villainous gang leader Hsu 'Tiger' Tsung-han. The movie was wildly successful due to its' blend of action and comedy, and became popular, despite being badly received by critics.
Liao also appeared in Champion of Chance's Return, which featured Devlin Chen being challenged to a high-stakes gambling match for 250 million Marks by an evil Separatist mob boss. This role, although relatively minor, did serve to increase her profile within Laeral.
In 2010, a television show was produced based on the popular movie series, entitled Champion of Chance, where Liao made frequent appearances throughout all four seasons.
In 2012, likely seeking to make audiences think of her in a role besides that of 'Devlin Chen's girlfriend', Aurelie Liao joined a relatively highbrow film, Madame Gao. This film was a biopic about noted fashion designer and radical feminist V?ronique Gao, with Aurelie Liao in the title role. As her first 'serious' role, she managed to convey both the passion and irritability that made Gao such a polarizing figure in her lifetime.
The 2015 science-fiction TV show Travellers featured Liao as well. The show centered upon a feudal future in which humanity has spread to all corners of the galaxy with the help of faster-than-light travel. A vast confederation rules the galaxy, yet upon the fringes of its control, four ragtag merchant/mercenaries must defeat an entrenched conspiracy. Aurelie Liao portrayed Lady Dame Vanai Cord?, an elegant and refined, yet somewhat stuffy, member of the minor aristocracy. As the show continues, Cord? struggles with her own personal biases, and must learn to coexist with her less law-abiding colleagues and allies. The show, while mainly noted for its spectacular visuals, was also known for having surprisingly good acting for a science-fiction show. While Cord? was not widely seen as an especially sympathetic character, many viewers empathized with the difficulties she faced in overcoming the worst facets of her personality.
2016's Brushstrokes marks another of Liao's influential movies. A high-budget historical drama, Liao starred as female lead Li Hui-ju, a servant and revolutionary. The character is noted for being sullen, prickly, and difficult to deal with, but also a women fiercely devoted to her ideals. Liao played her part well, portraying the many aspects of the role in various scenes, including her sullen early parts, the reveal of her identity as a passionate revolutionary in the 'second act' and her shockingly brutal final scene. This performance also quieted many of her critics, who had dismissed her as just a 'pretty face' with little acting talent.
Noted film critic Lionel Sermier, known for harsh judgments of most modern films in his column for Le Monde Laeralien, described her performance as "a major departure from Liao's previous roles, scintillating in her demeanor". He went on to describe her as "an icon of grace yet not serenity". Many reviewers noted that Liao, who had often previously played roles involving a great level of elegance and grace, was now in her first character who was conflicted and struggling to suppress her own demons without at least maintaining a facade of inner peace and poise, as she did in her role as Vanai Cord?. This new role, a departure from the norm for Liao, will likely lead to her being given more morally ambiguous roles in the future.
Aurelie Liao![[Image: aq9MxOk.jpg]](https://i.imgur.com/aq9MxOk.jpg)
Liao at the 2015 Laeralsford Film Festival
![[Image: RkMYqJS.jpg]](https://i.imgur.com/RkMYqJS.jpg)
Brushstrokes (2017)
Category: Best New IDU Film
Based partially on true events, Brushstrokes is a period drama focusing on the story of a young man who comes to the opulent colonial court of Duc Jean-Baptiste I, featuring themes of race, family, and loyalty.
Synopsis: The opening credits feature the camera panning down slowly toward an empty country road in mid-winter. As the camera moves, several lines of text are written on the screen in such a way as if it has been written with an ink brush. (The text, which appears one sentence at a time, reads: "In 1703, foreign conquerors appeared upon the shores of Laeral. The native R?n (1) people were unable to resist the superior technology of the invaders, and were soon violently forced into servitude. The power of the colonial regime suppressed dissent, and an entire people were subjugated. The Years of Woe began. It is now 1731, and Duc Jean-Baptiste and his followers believe they have quenched the fire of Laeralian resistance...")Snow covers the ground and trees, and the camera stops in front of a simple plum blossom, lightly coated in snow. The plum blossom, national symbol of Laeral and of the spirit and resilience of the Laeralian people, falls to the ground.
A horse-drawn carriage appears, moving quickly down the road. Inside, we see a nobleman of French descent and sitting across from him, a Laeralian adolescent of around 16. We learn that the young man, a poor villager named Yang Chia-hao, is being taken to the famed Autumn Court of the Laeralian colonial monarchy by the nobleman, the Marquis of Corday. Chia-hao asks why the Marquis has chosen him, and the Marquis replies that he is to serve as his personal secretary. When Chia-hao asks why he was chosen rather than someone who had been formally educated, the Marquis simply replies that he owes the boy's family a favor.
The carriage arrives at the Autumn Court of the Dukes of Laeral. The four courts of the monarchy are associated with opulence, intrigue, and lavish events in the Laeralian mindset, and the films plays heavily from this association, with the camera often emphasizing the luxurious furnishings and clothing. The Marquis takes Chia-hao inside, and into a new life.
The following half an hour is sometimes comical as Yang Chia-hao is introduced to the Marquis' family and staff, and adapts to life at Court in general. The Marquis tells Chia-hao that in order to succeed or be accepted at the court, he will need to adopt a new name. Chia-hao chooses the name Corvin, meaning 'dark-haired'. We are introduced to the Marquess, a woman who is kindly, but rather patronizing to Corvin. We are also introduced to the Marquis' only other servant- a sullen young woman named Li Hui-ju, whom the Marquis introduces as the Marquess's personal maid. This is rather bewildering to Corvin. Hui-ju seems determined to snub him, and seems to be an extremely bad servant: surly and uncaring. She also refuses to be addressed by her Christian name, ?lisabeth (2).
Corvin is also shown working as the Marquis' secretary. In a series of scenes, we see:
1). Corvin being shown to an ornate writing desk, and given paper and a fountain pen. He struggles to shape the words using the pen, although the Marquis compliments him on his penmanship.
2). Corvin still struggling to use the unfamiliar pen, while Hui-ju, who occasionally walks through the scene, watches the Marquis demonstrating the use of the fountain pen with a studious or impassive face.
3). Corvin is still struggling, and asks to use an ink brush, which is what his father trained him to use. The Marquis ultimately agrees to procure an ink brush.
4). The Marquis is dictating a letter, and Corvin is using the ink brush to write the French words.
In between scenes 1 and 2 above, Corvin is sent upon an errand to fetch a horse from the court stables. He goes to the stables, and asks the stable boys to help him saddle the horse. They do not respond, and instead remain where they are, leaning against a wall. Corvin asks again, more loudly, and the boys continue to ignore him. As he turns away, he sees one of the boys squint his eyes, in imitation of his own. Corvin grits his teeth, and turns toward the horse. He struggles to saddle the horse, having no idea how to do it. We hear one of the boys call out a racial slur towards him, and the other stable boys laugh. We see Corvin clench his jaw, his back going stiff, but he saddles the horse, stares straight ahead, and walks the horse out as the stable boys continue to mock him.
When Corvin brings the horse to the Marquis, the Marquis asks why the horse is so badly saddled. Corvin replies that there was no one at the stable to help him. The Marquis only nods in return.
Later on, the Marquis is sitting in bed reading as Corvin is writing a letter to his family back home. The Marquis sees the letter and admires the calligraphy, suggesting that Corvin should show his calligraphy to some 'acquaintances of mine with an interest in Laeralian culture'. Corvin agrees to make a demonstration piece, ultimately making the character for 'endure'. We see a small group of the nobility admiring the piece, and afterward, the Marquis tells Corvin that he should sell his work professionally. Corvin begins to write calligraphy and paint simple paintings in his spare time, and begins to sell them, often using exoticism as a sales tactic in order to do so. He begins to become known as a painter, and the wealthy and powerful begin to approach him for portraits, still life paintings, and calligraphy. We see him learning to paint in the Western style, as a way of increasing business. We see Corvin being paid large sums of money, and him sending it home to his family. He is invited to balls where he never would have been able to go before, and even embarks on a short-lived romance with a noblewoman which is ended when he finds that she is only interested in him to show him off to her friends and to rebel against her controlling parents. Around this time, the people of the Court, including Duc Jean-Baptiste (who has in fact never been seen in the movie so far) move to the Winter Court, which is located further south for warmth during the winter. The characters follow the Court there, except for Hui-ju, who leaves on an unspecified errand for several months.
Corvin decides to take a stroll in one of the palace gardens one night, and while he is there, runs into Hui-ju. He has been so busy with his life as a celebrated artist that he has not seen her recently. He begins to tell her about the successes he's had in the months that she's been gone, rambling on and on as she becomes steadily more angry. She accuses him of selling out to the colonialists, and of betraying his family and who he is. She continues in this vein for about a minute, ending by asking why he is content to 'be their little native lapdog' when atrocities are being committed against people like him every day. She ends by accusing him of 'prostituting' his life and talents, before turning on her heel and walking away as Corvin stands behind her, watching her go.
The following day, the Marquis asks Corvin to meet with him privately. In a deserted room in a corner of the Court, the Marquis reveals that another nobleman, the Comte de Beaupr?, has offered Corvin an incredible sum, 6000 livres, for a painting that Corvin had produced. The Marquis tells him that he is free to leave and establish himself as an independent artist at any time, and gives him a purse containing the money. Corvin bids farewell to the Marquis and Marquess, although Hui-ju is once again missing. He uses the money to rent a small 'shop' venue within the grounds of the Court, where he can sell his work to the nobility. We see him painting large pictures with an assortment of ink brushes and we see him selling those same paintings to wealthy buyers, helped by the fad for 'aboriginal' artwork at the time. He then receives a letter from home, telling him that his father is sick. Corvin closes the shop and hurries home. When he arrives in his hometown of Hengshan, he is shocked to see so many beggars upon the streets as well as soldiers patrolling to enforce levies upon the townsfolk. His father is sick in bed- the soldiers had forced him to work in road construction, and the hard labor and tainted drinking water have left him with an unknown, but deadly, disease (likely cholera). Corvin, moved by the plight of his hometown, helps his father recover from the disease and decides to give some of the money he has made to the people of Hengshan.
We see Corvin continuing to paint, and he uses many of the funds to help his hometown. He establishes a medical clinic, and works to buy food for the village, purchasing a carriage and horses in order to do so. Scenes of Corvin painting and selling his goods in the lavish surroundings of the Winter Court are then followed by scenes of him visiting Hengshan to oversee his charitable efforts. Around this time, Corvin meets a fellow artist named Beno?t Maugnier, who specializes in portraiture. The two begin to work together, and a romantic relationship is hinted at (see 'Production and Filming'). Later on, a man whom Corvin's clinic had been taking care of is released, and then forced to work on the roads once more, and he ultimately dies.
Saddened by what he has seen in his hometown, Corvin returns with Beno?t to the Winter Court. While they are returning, Beno?t states that given how many of the townspeople are sick or poor because of the forced road-building and high taxation, it could be more worthwhile to use their network of influential art buyers to try and stop this from happening. Corvin agrees with him, but is unsure how to make it work.
When they return to the shop Corvin has rented, they hear a knock at the door several days later. It is Hui-ju, who is very dirty and bruised, with a still-bleeding cut on her arm. Corvin has many questions to ask her, but she refuses to answer, only asking to stay with him for a few days.
Once she has recovered, she reveals that she has been working for a group of individuals dedicated to ensuring social change within Laeral, called the Peach Garden Congress (3). She says that she had been injured in the course of working for that goal. Corvin and Beno?t offer to assist that group, and she says that she will see what she can do. She then leaves, over their objections.
They do not hear back from Hui-ju, and so begin to organize a charity art show. However, she returns, saying that she needs them to help her convey a message. Apparently, an influential ally of the group is being closely watched by agents of the monarchy (the secretive 'Quatri?me Bureau' (4)), and a message is needed to be conveyed to him. Corvin suggests that he could perhaps hide a message within a work of his calligraphy. We see Corvin working ferociously on a poem in calligraphy, using tiny brushstrokes to hide a message within the picture of a fallen plum blossom in the lower corner of the painting. Having concealed a coded message, he then gives it to Hui-ju to deliver. At this point, the camera follows Hui-ju as she sneaks through the palace's deserted corridors disguised as a courier. A sentry stops her, she shows him the calligraphy, and he lets her pass. She then gives it as a 'gift' to the nobleman, returns to Corvin and congratulates him.
Corvin continues to do similar work for the Peach Garden Congress, concealing messages in works of art. He begins by simply providing funding for this organization as well as producing more messages hidden in art. He meanwhile continues his normal art career, designing new works as well. His success results in him gaining a prestigious commission, to illustrate an entire book for Duc Jean-Baptiste himself. This was an extraordinary honor, and would involve the illustration of a copy of a work of French literature, La Princesse de Cl?ves (5). Corvin will receie a vast sum of money for it, and will present it to the Duc himself in three months' time. Soon, however, Hui-ju approaches him. As the book is intended for Duc Jean-Baptiste himself, Hui-ju suggests that Corvin mix poison with his paint. When the Duc touches the book, the poison would seep through his skin, killing him in a way that would appear natural. She gives Corvin the vial of poison to mix with his paint, and urges him to place it in, so as to strike a blow against the monarchy.
Corvin, however, is unsure. He begins to work on his first illustration without mixing the poison in, telling himself he will put it in later. However, he becomes unsure if killing the Duc would be the right thing to do. Over several sleepless nights, he remembers his father urging him to 'act honorably', but also the cruelties inflicted by the Duc's men. As he continues working, moving further and further through the book, he sends his parents a letter, asking their advice. His father urges him not to use the poison, while his mother encourages him to. Corvin worries about possibly killing innocents, and cannot decide...
After taking a walk through a palace garden to reflect, he decides to use the poison. He mixes the poison with his paint, and begins the grim task of painting the remaining illustrations, using gloves to avoid coming in contact with the poisoned paint. The camera follows his brushstrokes as his illustrations become ever grimmer...
Finally, Corvin finishes the book and prepares for the formal ball at which he is to present it. We see the various characters dressing for the ball- Corvin, grim-faced, as the guest of honor, with the copy of La Princesse de Cl?ves contained in a gilded presentation box. Hui-ju, in a simple servant's outfit, concealing a dagger among her clothing. The Marquis and Marquess, dressing formally for the event. Beno?t, unsure of why Corvin has been so withdrawn lately, dressing himself. Duc Jean-Baptiste, being dressed by servants, unaware of the plot against his life.
The ball begins, with hundreds of nobility dancing and talking inside a massive ballroom. Corvin tries to smile at the admirers which surround him, congratulating him on having risen so far. The Duc enters the ballroom, speaking to his hangers-on and cronies. Corvin dancing with various noblewomen. Hui-ju tending the refreshments, pausing occasionally to shoot a glance at Corvin's box. The Marquis, aware of the plot, keeping an eye on Corvin with a worried expression. Beno?t, beginning to suspect that more is afoot than he knows, speaks to the Marquis, asking if the Congress has something planned for the night. The Marquis, denying all.
At last, the moment of presentation arrives. The musicians play as the Duc appears on the dais, and a carpet is laid out before Corvin. The Duc gives a speech to the assembled crowd, and they applaud, including Beno?t, the Marquis, and Hui-ju. The Duc beckons for Corvin to come forward, and he begins to walk slowly toward the Duc, afraid of what he is about to do. Corvin finally arrives at the dais, and, on his knees, presents the gilded box to the Duc. The Duc compliments Corvinfor creating the illustrations, and Corvin can only bear to nod. Finally, the Duc opens the cover, begins to turn the pages, admiring the illustrations. From around the ballroom, Hui-ju, the Marquis, and the other members of the Peach Garden Congress are watching intently.
Then, the Duc touches one of the illustrations.
Corvin gulps, and Hui-ju relishes a tight smile, certain she is about to see the Duc die. But then- he doesn't. The Duc continues to look through the book, touching more of the illustrations and complimenting Corvin on the artistry. Corvin struggles to conceal his shock, while the expression on Hui-ju's face changes from shock to anger to hard resolve. And then, the moment passes. The Duc finishes looking at the book and places it back in the presentation box before handing it to a servant. Corvin leaves the dais, trying to process what has just happened. Behind him, the Duc, eager to rejoin the festivities, walks down to speak with a cluster of advisers. As he is talking with those advisers, his group walks past Hui-ju. She leaps toward the Duc with her dagger in hand, seeking to kill him herself. She buries her dagger in the Duc's chest, pulling it out and stabbing him in the throat as he falls. As guards stationed around the perimeter of the room run toward the scene, she drops her dagger and surrenders. Guests begin to crowd around the Duc's body as Hui-ju is led away by a dozen guards. She looks Corvin in the eye and smiles, as Corvin can only gasp.
Following the ball, it is heard that Hui-ju has committed suicide in her cell before her inevitable trial and execution. The closing scenes of the movie see Corvin, Beno?t, and a group of previously un-introduced members of the Peach Garden Congress, including the Marquis, sitting around an table somewhere within the Court, raising a glass to Hui-ju's memory. The credits roll.
Notes:
(1): R?n, meaning 'people', is a term sometimes used to describe people of native Laeralian descent.
(2): During the colonial period, and in fact until fairly recently, many people were forced to take 'Christian' names in order to succeed and in order to avoid discrimination. However, in the 1980s and 90s, the R?n Pride movement championed the use of traditional names rather than European-style names.
(3): Many organizations in Laeralian culture, strangely enough, choose names based on an object (such as a type of flower) or article of clothing. This includes groups such as the Society of the Red Rose, the White Scarves, and the Order of the White Glove. The Peach Garden Congress was an informal association of colonial nobles opposed to the goals of Duc Jean-Baptiste. Many of its members were involved for purely ideological reasons, and did not intend to resort to force in order to achieve their goals.
(4): The 'Quatri?me Bureau' (Fourth Bureau) was a shadowy intelligence organization during the colonial period with a fearsome reputation, with the stated goal of preventing those who were plotting against the Crown.
(5): La Princesse de Cl?ves was a 1678 French novel written by the Comtesse de La Fayette (a relation of the well-known Marquis de La Fayette). It was a historical intrigue/romance novel that took place at the court of King Henri II, and was based on true events. It was also the favorite book of Duc Jean-Baptiste I of Laeral.
Characters:
Corvin: Hsu Chen-huan, a relatively young actor formerly involved in theater. This was his first major production.
Li Hui-ju: Aurelie Liao, an actress seen previously in movies and television.
Marquis de Corday: Olivier Beauvais, an actor who has had a long career in film.
Beno?t Maugnier: Laurent Rouillard
Duc Jean-Baptiste I: Paul Bonnell, an actor notoriously cast in villainous roles.
Production and Filming: Some scenes of Brushstrokes were filmed on location at the actual Autumn and Winter Courts, mostly exterior scenes. The Courts were restored in the 1990s, and are major tourist attractions today. The garden scenes are all on location. Many of the inside scenes at the court, including the final ball scene, were filmed on a soundstage. The movie was praised for its' attention to detail and historical accuracy, with many props being based on actual objects and a team of historians were hired in order to assure historical accuracy. The costumes were generally praised as well. The film caused some minor controversy for portraying Corvin being in a homosexual relationship with Beno?t, which is an interpretation the majority of historians agree upon today. Corvin never married, and recently discovered letters between him and Beno?t point to them having been in a relationship. Regardless, a small number of Laeralites threatened to boycott the movie, although the film did not in fact focus very much on Corvin's romantic life, preferring instead to focus on his life and art.
Language: Brushstrokes is in French, although English subtitles are provided for the showing.
Brushstrokes was rated 15+for distribution in Laeral.
Aurelie Liao
Category:Best Actor in an IDU Film
Birthdate: April 9th, 1983 in Jinhua province.
Occupation: Actress
Aurelie Liao is the second child of a middle-class family in Jinhua. She received above-average, although not spectacular, grades at school and was accepted to the University of Nanhai, where she majored in Acting and minored in Linguistics, receiving a Master's degree in the former. She took up modeling for several years after college, being unable to find a job. Her frst on-screen appearance was in 30-second advertisement for Chatime, a popular teahouse chain. Her notable film and TV roles are outlined below:
Champion of Chance
Aurelie Liao's breakout role was in Champion of Chance, a 2007 action/comedy movie about Devlin Chen, an Laeralite who travels the globe as an international high-stakes gambler with near-supernatural powers involving gambling. In this movie, Liao played Chen's girlfriend Yi-ling, the former mistress of villainous gang leader Hsu 'Tiger' Tsung-han. The movie was wildly successful due to its' blend of action and comedy, and became popular, despite being badly received by critics.
Liao also appeared in Champion of Chance's Return, which featured Devlin Chen being challenged to a high-stakes gambling match for 250 million Marks by an evil Separatist mob boss. This role, although relatively minor, did serve to increase her profile within Laeral.
In 2010, a television show was produced based on the popular movie series, entitled Champion of Chance, where Liao made frequent appearances throughout all four seasons.
In 2012, likely seeking to make audiences think of her in a role besides that of 'Devlin Chen's girlfriend', Aurelie Liao joined a relatively highbrow film, Madame Gao. This film was a biopic about noted fashion designer and radical feminist V?ronique Gao, with Aurelie Liao in the title role. As her first 'serious' role, she managed to convey both the passion and irritability that made Gao such a polarizing figure in her lifetime.
The 2015 science-fiction TV show Travellers featured Liao as well. The show centered upon a feudal future in which humanity has spread to all corners of the galaxy with the help of faster-than-light travel. A vast confederation rules the galaxy, yet upon the fringes of its control, four ragtag merchant/mercenaries must defeat an entrenched conspiracy. Aurelie Liao portrayed Lady Dame Vanai Cord?, an elegant and refined, yet somewhat stuffy, member of the minor aristocracy. As the show continues, Cord? struggles with her own personal biases, and must learn to coexist with her less law-abiding colleagues and allies. The show, while mainly noted for its spectacular visuals, was also known for having surprisingly good acting for a science-fiction show. While Cord? was not widely seen as an especially sympathetic character, many viewers empathized with the difficulties she faced in overcoming the worst facets of her personality.
2016's Brushstrokes marks another of Liao's influential movies. A high-budget historical drama, Liao starred as female lead Li Hui-ju, a servant and revolutionary. The character is noted for being sullen, prickly, and difficult to deal with, but also a women fiercely devoted to her ideals. Liao played her part well, portraying the many aspects of the role in various scenes, including her sullen early parts, the reveal of her identity as a passionate revolutionary in the 'second act' and her shockingly brutal final scene. This performance also quieted many of her critics, who had dismissed her as just a 'pretty face' with little acting talent.
Noted film critic Lionel Sermier, known for harsh judgments of most modern films in his column for Le Monde Laeralien, described her performance as "a major departure from Liao's previous roles, scintillating in her demeanor". He went on to describe her as "an icon of grace yet not serenity". Many reviewers noted that Liao, who had often previously played roles involving a great level of elegance and grace, was now in her first character who was conflicted and struggling to suppress her own demons without at least maintaining a facade of inner peace and poise, as she did in her role as Vanai Cord?. This new role, a departure from the norm for Liao, will likely lead to her being given more morally ambiguous roles in the future.
Aurelie Liao
Liao at the 2015 Laeralsford Film Festival