The film < The distant Mountains > narrates a strife grown between shame, love, and sin. My aunt's HIV caused the sensitive changes in my family, which made me reflect on the trauma connected with the political struggles and contradictions in family history. This film is intertwined HIV metaphors under gender attributes, Postmemory and generational trauma. presents memory and emotion poetically in fragile and sensitive harmony with the combination of archives, hometown, memory and words, which extends to stigma and social prejudice, and brings into the cause and effect between Chinese history background with family, political and individual survival.

“Postmemory” describes the relationship that the “generation after” bears to the personal, collective, and cultural trauma of those who came before-to experiences they “remember” only by means of the stories, images, and behaviors among which they grew up. But these experiences were transmitted to them so deeply and affectively as to seem to constitute memories in their own right. Postmemory´s connection to the past is thus actually mediated not by recall but by imaginative investment, projection, and creation. To grow up with overwhelming inherited memories, to be dominated by narratives that preceded one’s birth or one’s consciousness, is to risk having one’s own life stories displaced, even evacuated, by our ancestors. It is to be shaped, however indirectly, by traumatic fragments of events that still defy narrative reconstruction and exceed comprehension. These events happened in the past, but their effects continue into the present.