Fuzhou, China 2026
why this film
why this film
I’m Cynthia Lin, the writer and director of A Funeral Procession of Fireflies.
I was born in the United States and sent to Fuzhou, China, as a baby. For five years, my great-uncle and great-aunt raised me. They were the people I called my parents. My real mother and father existed only as distant presences — voices on the phone, money in the mail, a feeling of being watched from somewhere I couldn't see.
Children like me are called "satellite babies." It is a long-standing practice in the Fuzhounese diaspora: parents work overseas while their children are sent back to China to be raised by relatives. When I returned to my parents at age five, I arrived in a country I didn't remember, to a family I didn't recognize.
Seventeen years later, I went back to Fuzhou. I lived again with my great-uncle and great-aunt on the same old street, not yet demolished for high-rises. Slowly, things returned — the sound of firecrackers, the smell of frying snacks, the cadence of the Fuzhounese dialect I had lost as a child. I began interviewing other satellite children. One described his absent parents as spirits — protective when he behaved, punishing when he didn't. I remembered that feeling. A Funeral Procession of Fireflies began there.
I was born in the United States and sent to Fuzhou, China, as a baby. For five years, my great-uncle and great-aunt raised me. They were the people I called my parents. My real mother and father existed only as distant presences — voices on the phone, money in the mail, a feeling of being watched from somewhere I couldn't see.
Children like me are called "satellite babies." It is a long-standing practice in the Fuzhounese diaspora: parents work overseas while their children are sent back to China to be raised by relatives. When I returned to my parents at age five, I arrived in a country I didn't remember, to a family I didn't recognize.
Seventeen years later, I went back to Fuzhou. I lived again with my great-uncle and great-aunt on the same old street, not yet demolished for high-rises. Slowly, things returned — the sound of firecrackers, the smell of frying snacks, the cadence of the Fuzhounese dialect I had lost as a child. I began interviewing other satellite children. One described his absent parents as spirits — protective when he behaved, punishing when he didn't. I remembered that feeling. A Funeral Procession of Fireflies began there.
the team
Writer-Director
A former “satellite baby” raised in Fuzhou · Yale, FAMU, EICTV
Weijia Zhou
Producer
Debut short Away screened at Interfilm Berlin · formerly at Women Make Movies
Executive Producer
Director of Hava, Maryam, Ayesha (Venice Orizzonti, 2019)
Allen Cao
Executive Producer
Co-founder, Fuzhou America
Junjie Zhai
Co-Producer
Co-Producer, Big Little Things (Venice Orizzonti, 2026)
recognition
&
support
Grand Prize, 2026 AAPI Renaissance Rally
Pitched at the New Producers Room, Cannes 2026 (with Film Talent Academy)
Developed at Film Talent Academy Short Film LAB 2025–2026
Thomas Barry Fellowship, Women Faculty Forum Seed Grant
where we are
2025-2026
May 2026
Sep 2026
Sep 2026
Oct 2026
Dec 2026
Jan 2027
2027
Our young leads in rehearsal
where your gift goes
重现 1995 年的福州
Period sets, props, and costumes that give the story its texture and truth.
照顾好两位小演员 ZH-08b
Time to rehearse, and a set built around the care of our two young actors.
The crew behind the image
镜头背后的人 ZH-08c
The camera, sound, and lighting teams who bring the coast, the night, and every quiet moment to the screen.
镜头背后的人 ZH-08c
The camera, sound, and lighting teams who bring the coast, the night, and every quiet moment to the screen.
giving levels
Any amount
$250
$1,000
$2,500
$5,000+