As the artist's third documentary work, "2020 (Part 1)” presents an archival record of the artist's personal family members and the culture and identity of his family members. In the first two films, the artist demonstrated the contradiction between him and his family members through the first-person perspective recording, and then through the dialogues containing all kinds of contradictions, it is intended to show the contradiction between the two types of value systems derived from the artist and his family, which extends to the exploration and thinking of regional culture and identity recognition. In "2020 (Part 1)", the artist remains silent in most of the dialogues. On one hand, it is a non-disturbing presentation of the real cultural field and family environment; and on the other hand, after he actively tried to communicate with his family for 6 years, as a result, the artist gave up communication, remained silent, and maintained the attitude of tiredness.
The film once again shows various life fragments of the artist's family. Based on the premise of the first two films, the third film has witnessed the cultural and identity attributes of the artist's family. Through several years of documentary film screenings and discussion activities, the artist has found more resonance about family influence, regional culture and identity recognition. Therefore, in the third film, the artist uses the first-person perspective more firmly to record an ordinary and trivial pictures in an ordinary family. Through the dialogues and behaviors of each family member, a deep-rooted, human-based cultural and identity connection is demonstrated. At the same time, the natural and human environment information behind the characters is also wisely recorded.
"2020 (Part 1)" is regarded as an archival record of the artist’s family and the regional culture. In local rituals related to the Spring Festival, the artist strives to display the most primitive video clips of customs such as visiting graves, playing fireworks, and making as well as eating dumplings, etc.. He strives to use these rituals in the most direct way to present them as precious video clips of local history. (At present, many areas in China have been banned from playing fireworks and firecrackers. In the future, whether fireworks can be played in the artist's hometown is full of uncertainties.)
At the end of the film, a lot of pictures of the artist’s parents playing fireworks are shown. Playing fireworks were supposed to be children's entertainment, but what’s interesting is that during the 2020 Chinese New Year, the artist discovered that his father began to devote himself to experience some of his childhood experiences and shared some childhood memories, such as the father actively lead the play of the fireworks. This is also the change of his father discovered during the 2020 Chinese New Year after a fierce quarrel between the artist and his father at the end of 2019. At this point in the film, the identities of the artist as a child and the father seem to be reversed. The father should be the recorder and the artist should be the person who plays the fireworks, but on the contrary. There is also a detail in the film, that is, the artist repeatedly tells the story that he was beaten on many New Year's Eves when he was a child. During the 2020 Spring Festival, the artist deliberately mentioned this childhood memory segment, and wanted to get some discussion opportunities and answers to this memory segment. The appearance of this plot reflects the influence of a person's childhood experience on memory from the artist's personal perspective. In the meantime, this memory statement was answered unexpectedly by his cousin, and there was a trace of sorrow in the laughter.