For over five months, Zhou situated himself in an underdeveloped village surrounded by the high skyscrapers of Guangzhou to produce South Stone. Interweaving footage of a village’s landscape, residents, and animals with his seemingly absurd interventions with the place, South Stone indicates the equally incoherent social reality. Fluctuating between documentary and fiction, the film catalyzes alternative connections in time, and the emergence of imaginative spaces. Zhou’s practice alchemizes the ordinary surroundings into a theatre where he superimposes and interchanges the background and the stage, the viewer and the actor, the fact and the story line, the documentation and the representation. His camera is not simply a recording apparatus but an extension of existence, which requires active participation. The images it produces are not just detached spectacles: They are the agents that reveal the theatrical details suffused in mundane life.