Writer/Director’s Statement
Stranded parallels the migration of humpback whales—who learn songs from one another as they travel—with our experience of diaspora and cultural memory. Born by the sea, I left my family in China as a teenager to study in the U.S., carrying with me a persistent sense of homesickness and guilt. As an only child, I felt the weight of leaving. When my grandfather fell ill and asked when I would return, I chose to stay and finish a film production—missing my last chance to see him. It remains one of my deepest regrets.
This story came from this deeply personal place—a longing to reconnect with my family. My father, a fisherman, taught me to love the ocean. Years later, as an environmental science student kayaking alongside orcas in Alaska, that connection deepened. The sea became our shared language, a bridge across time and distance. Through this film, I found a way to stay close to what I had left behind.
Inspired by our science advisor’s whale song research, I set the film in a Newfoundland fishing village where time feels suspended. Locals welcomed us, shared their stories, and even appeared on screen. As we filmed, the boundary between fiction and lived experience blurred. Their quiet resilience stirred memories of home and a long-held grief I hadn’t fully faced.
Shortly after we wrapped, a severe windstorm destroyed parts of the village—including structures featured in the film. That loss deepened my commitment to honor these communities through cinema, to preserve their stories and highlight the impact of climate change.
Stranded is about loss, guilt, and the long journey toward reconnection. I hope it resonates with anyone navigating identity, family, and memory—and that the Newfoundlanders who made this film possible feel proud of what we created together.
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This story came from this deeply personal place—a longing to reconnect with my family. My father, a fisherman, taught me to love the ocean. Years later, as an environmental science student kayaking alongside orcas in Alaska, that connection deepened. The sea became our shared language, a bridge across time and distance. Through this film, I found a way to stay close to what I had left behind.
Inspired by our science advisor’s whale song research, I set the film in a Newfoundland fishing village where time feels suspended. Locals welcomed us, shared their stories, and even appeared on screen. As we filmed, the boundary between fiction and lived experience blurred. Their quiet resilience stirred memories of home and a long-held grief I hadn’t fully faced.
Shortly after we wrapped, a severe windstorm destroyed parts of the village—including structures featured in the film. That loss deepened my commitment to honor these communities through cinema, to preserve their stories and highlight the impact of climate change.
Stranded is about loss, guilt, and the long journey toward reconnection. I hope it resonates with anyone navigating identity, family, and memory—and that the Newfoundlanders who made this film possible feel proud of what we created together.
— Raina Yang
The Film
This film opens a doorway into the multi-dimensional world of marine science and magical realism, intertwining whale songs with human emotions and spirituality.
Our cinematography draws inspiration from the rhythm of Chinese Song poetry, allowing time on screen to ebb and flow with Yiling’s internal journey—from initial reservation and stoicism to moments of wonder, surprise, recognition, and other palpable emotions she finds herself swirled into toward both her surroundings and the home she left behind.
The film’s palette and tone take inspiration from Andrew Wyeth, the 20th-century American artist who blended Impressionist light and movement with precise, realistic detail. Like Wyeth, who described himself as a magic realist, our film features simple yet poetic settings and moments of nature’s quiet magic, seamlessly blending reality and fantasy through long takes and a restrained, dreamlike aesthetic.
Sound is a defining element, immersing audiences in the living, breathing world of the village. Silence, shifting winds, and a brewing storm lead up to Yiling’s final confrontation—not only with the whale but with the emotions she has long suppressed.
Visually and aurally, we create a bridge between Yiling’s childhood in a Chinese village and her present in Newfoundland, shaping a fluid, shifting sense of time and space. This interplay reflects the diasporic experience—where home is not fixed to a single place, but lingers in echoes that follow across oceans.
Wind from the Sea (Andrew Wyeth, 1947, tempera). Retrieved from Artchive.
Scientific Topics and Themes
This story builds upon the essential parallel between humpback whales' cultural transmission through songs and human migrations across diverse cultures. Science assumes a central role as Yiling applies her expertise in marine biology to investigate the challenges faced by the stranded humpback whale and assess the potential outcomes of different rescue approaches.
I have had detailed consultations with our science advisors regarding different scientific topics in the script, including the migration pattern of humpback whales, the monitoring process and their songs, as well as the rescue protocols for stranded cetaceans. In the script, the characters try to save a repeatedly stranded humpback whale by dragging it into the ocean, but the protagonist points out that first, trained rescuers must be there to oversee the operation, and second, under the circumstance where rescue or euthanasia cannot be undertaken, the stranded cetacean should be made as comfortable as possible through appropriate care and allowed to die naturally.
Other examples in the script include the process of monitoring and analyzing hydrophone recordings, as well as the finding that there is a cultural transmission in the songs of humpback whales during their migrations. As our protagonist shares hydrophone recordings with locals and grapples with their differing beliefs, this story underscores how science fosters dialogue and connectivity through shared objectives.
Through this project we hope to bring awareness to the wonderful vocal culture of humpback whales and their important relationships to coastal communities. We believe it is not only meaningful but also necessary to highlight the urgency to marine conservation in the present state of our environment.
I have had detailed consultations with our science advisors regarding different scientific topics in the script, including the migration pattern of humpback whales, the monitoring process and their songs, as well as the rescue protocols for stranded cetaceans. In the script, the characters try to save a repeatedly stranded humpback whale by dragging it into the ocean, but the protagonist points out that first, trained rescuers must be there to oversee the operation, and second, under the circumstance where rescue or euthanasia cannot be undertaken, the stranded cetacean should be made as comfortable as possible through appropriate care and allowed to die naturally.
Other examples in the script include the process of monitoring and analyzing hydrophone recordings, as well as the finding that there is a cultural transmission in the songs of humpback whales during their migrations. As our protagonist shares hydrophone recordings with locals and grapples with their differing beliefs, this story underscores how science fosters dialogue and connectivity through shared objectives.
Through this project we hope to bring awareness to the wonderful vocal culture of humpback whales and their important relationships to coastal communities. We believe it is not only meaningful but also necessary to highlight the urgency to marine conservation in the present state of our environment.