Unfinished Country was inspired by both a real case of land dispute in rural Southern China and a late socialistic realism artist’s sketch (Shikuo WANG, “Blood-tinted Clothes” sketch).The film, through rehearsals by villagers, connected the fate of a painter, a piece of art work and an anonymous person who died of land disputes. It not only reflected land and power heritage in modern day revolution in China but also questioned the relationship between the imagination of a painting and reality, performing body and everyday body, acting time and daily time.

于瀛的錄像作品《未完成的村莊》，靈感來源於真實發生在中國南方鄉村的一起土地權力糾紛，及一位已故社會主義現實主義畫家遺作草圖（王式廓，《血衣》素描。影片透過村民的重新排演，將一個畫家命運、一件作品的命運還有一個為抗爭地權慘死的無名死者的命運勾連在一起，反思在中國近代革命的土地和權力的遺產，影片同時質疑了繪畫性想象和真實性之間的關系，以及表演身體和日常身體、表演時間和日常時間之間的關係。