To bear witness, to tell, to return freshly to History, to what has been forgotten and what has not been said. The task that Wang ChuYu has undertaken with Person , his first film, is ambitious. The History is that of Taiwan revisited through a man, Mo-lin Wang, founder of the Taiwan Artist Theater. The film is made up of alternating two tableaux composed according to two visual and narrative regimes. We first hear, off-camera, Wang's story, in which he looks back on his political journey and its twists and turns, from Taiwan to so-called mainland China via Japan. It is the journey of a left-wing man, a utopian, once communist. As his story unfolds, a group of workers are busy assembling a wooden structure. It is then a text by this same Mo-lin Wang, The Waste Land – a title borrowed from the famous epic poem by TS Eliot – that two silhouettes seen behind a canvas read and comment on. The screen becomes both a veil and a page, a surface for inscription. This directorial approach plays on the contradictions of a text in which the author mainly returns to the years. Filter? Decor? Scaffolding? Metaphors, one suspects. The readings fit together, the words respond to each other or arrive at the wrong time in a fascinating pas de deux. History has multiple movements, like its modes of appearance. The author's questions rub shoulders from one tableau to another: the recent political history of Taiwan, of Mao's China or of the 1980s and its triumphant capitalism, the history of nationalism, martial law, communist utopia, socialism, the defeat of Tiananmen. Questions about the possible place, henceforth, of the notion of the person. A history with burning echoes, which "little by little becomes this dog turd that everyone avoids," in the words read by Mo-lin Wang. Wang ChuYu sketches it as a theater of speaking ghosts and mute bodies – those of workers in action, a counterpoint to the words emanating from an absent body.