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Welcome to Jobless Club再就业补习班
Original project image / cover
一个不断重新理解观众的故事A story that keeps reconsidering its audience
一家“再就业补习班”聚集了在人生不同阶段受挫的人。荒诞的谋生尝试，逐渐成为关于技能、信任与尊严的群像故事。项目诞生于疫情时期，此后随着现实语境变化经历了多次调整。
An unlikely re-employment class brings together people facing different setbacks. Their improvised attempts to make a living become an ensemble story about skills, trust and dignity. Conceived during the pandemic, the project has been revised as its social context has changed.
我的参与 / My involvement
我参与故事提案与剧本创作。项目诞生于疫情时期，此后随着社会背景和受众期待变化反复调整；这里重点呈现人物、叙事与受众判断之间的开发思考。
I contributed the story proposal and screenwriting. Conceived during the pandemic, the project has been revised as its social context and audience expectations changed. This page focuses on the relationship between character, narrative and audience positioning.
人物不只是社会标签
Characters beyond labels
从江广开办补习班的设想，到成员试着通过手艺和协作重新谋生，人物需要在具体行动中获得复杂性，而不仅承担议题。
From Jiang Guang’s improvised class to the members’ attempts to rebuild livelihoods through craft and collaboration, characters acquire complexity through action rather than functioning only as social labels.
现实议题、喜剧与情感
Social reality, comedy and emotion
不同阶段的观众可能从同一个故事里寻找不同东西：对生活处境的理解、轻松的观看体验，或重新开始的可能。开发需要反复校准这些期待。
Audiences at different moments may seek recognition of their circumstances, comic relief or the possibility of starting again. Development means repeatedly recalibrating those expectations.
一个长片项目，如何随着现实变化重新认识它的观众？
《再就业补习班》是一个跨度很长的项目。它最初诞生在疫情时期，当时“重新开始”带有一种很直接的现实压力：工作突然停摆，原本稳定的生活被打断，很多人不得不重新学习如何谋生。项目以“再就业补习班”为切口，写一群在人生不同阶段受挫的人，在看似荒诞的尝试中重新建立关系和尊严。
随着时间推移，项目后续经历了多次调整。不同阶段的生活背景，会改变故事需要回应的问题，也会改变人物承担的叙事功能：同样是重新谋生，有时更接近应对眼前的中断，有时则需要讨论长期的转型、信任与重新融入。调整不只是替换情节，而是重新梳理人物的动机、关系和处境，让他们不只代表一个议题，也能成为观众愿意理解的人。
这种变化也改变了我对受众的理解。起初，我更容易把它想成一部回应社会议题的温情喜剧；后来我意识到，观众不会仅仅因为“再就业”这个话题走进影院。他们需要看见熟悉的生活压力，也需要在故事里获得轻松、人物之间的默契和一次并不虚假的重新开始。对院线项目而言，议题、类型和情绪价值不能各说各话：现实感提供进入故事的理由，喜剧降低观看门槛，群像关系才让观众愿意留到最后。
这个项目让我学到，长片开发不是在某一天完成一个版本，而是在现实持续变化时，反复回答同一个问题：此刻，谁会需要这个故事？他们想从中看见什么，又愿意为什么留下来？
How does a feature project reconsider its audience over time?
Welcome to Jobless Club has developed over a long period. It began during the pandemic, when starting again had an immediate urgency: interrupted work and disrupted routines forced people to reconsider how to make a living. The class became a setting for people facing different setbacks to rebuild relationships and dignity through seemingly absurd attempts.
As the context changed, the project needed more than updated details. Revisions involved reconsidering what the characters carry within the story, which tensions remain relevant, and how audiences might now respond to the premise. The class could be a comic setting, but also a temporary community where different people try to find a place again.
This also changed how I thought about the audience. A topical subject alone does not give someone a reason to buy a cinema ticket. Recognition of everyday pressures needs to work alongside humour, engaging relationships and a credible possibility of renewal. The social premise, genre and emotional experience must support one another.
The project taught me that feature development is not completed simply by finishing one version. It means returning to the same questions as the world changes: who might need this story now, what will they recognise in it, and what will make them stay?