Mali Chen on LOSER: Finding Hope in the Discarded

In LOSER, director Mali Chen transforms abandonment into song. Set in a decaying city, the music video begins with a discarded inflatable doll awakening in a trash bin. Soon, it is gathered into a rickety shopping cart alongside broken toys, unwanted objects, and forgotten things. As the cart travels through alleys and neglected streets, the discarded begin to sing together, forming a surreal chorus of failure, shame, rejection, and unexpected resilience.

Based on “LOSER,” a track from Taiwanese indie band the Peppermints’ concept album NOTtoBE, the film blends live action, AI-generated imagery, visual effects, lo-fi textures, and melancholic camp. What begins as an absurd image of trash coming to life becomes something more affecting: a poetic reflection on a culture obsessed with success, and on the strange emotional truth that losers often feel more human than winners.

Mali Chen

Chen, whose background lies in filmmaking and years of professional visual effects work, approaches LOSER as both a music video and a visual experiment. The result is a hybrid work that combines technical innovation with emotional intuition, creating a world where abandoned things reclaim their voice. The film has received major recognition on the festival circuit, including Best Music Video at Cannes International Film Week 2026, Jury Award for Best Music Video, Best Visual Effects, and Audience Award at AI International Music Video Festival 2025, Best Experimental Music Video at the International Music Video Awards 2025, and official selections at MADRIFF – Madrid Indie Film Festival and Short to the Point ISFF Awards.

For Final Cut Magazine, Mali Chen reflects on AI as a creative tool, the emotional rhythm of music videos, and why even in failure, there may still be a small light.

Mali, LOSER begins with discarded objects, but it gradually becomes a story of resilience. What first drew you to this interpretation of the song?

LOSER is a music video about a group of discarded little objects—things that have been used, abandoned, and are no longer wanted. Set in a decaying city and centered around a shopping cart, the story follows these characters as they slowly realize that they still have choices and can find their own way forward.

When I first listened to the song, I felt that it was partly about failure, frustration, and self-mockery. But at the same time, I also heard a sense of strength in it. I wanted the film to bring that strength forward instead of focusing only on the sadness.

The direction of the film eventually became a story about characters who don’t realize they have a choice at first, but gradually discover their own power and move toward something freer and more hopeful.

https://www.youtube.com/watch?v=5jYv-vd5b6E

The film went through two very different versions. How did you arrive at the final concept?

The project actually went through two very different versions.

The first version was much bigger in scale. The inflatable doll was the main character, and the story followed her as she was picked up by different people, taken to different places, abandoned, found again, and abandoned once more.

As I developed the project, I realized that this version had become too complicated and that the emotional focus was getting lost. So I went back and asked myself what image from the original concept I couldn’t let go of.

The answer was simple: a group of little discarded objects sitting together in a shopping cart.

From that point on, I simplified the story. The shopping cart became the central setting, and most of the events in the film revolve around it. That became the core of the final version.

Your director’s statement speaks about finding light in darkness. Was hope always central to the project?

The core idea behind LOSER came from my own interpretation of the song.

Although the song carries a sense of sadness, self-mockery, and realism, I felt there was also something else underneath it. I wanted to find a path that felt a little brighter and a little stronger.

Personally, I believe that even in moments of sadness, disappointment, or darkness, people can still find a more hopeful direction. That idea is closely connected to my own view of life: even in the middle of a gray and difficult situation, I still believe there is a little bit of light to be found.

That’s why the film takes place in a city that feels abandoned and worn down. But within that environment, these little discarded characters slowly begin to find their own way forward. As their journey unfolds, they discover a strength that belongs to them.

For me, LOSER is not only about failure. It’s also about finding hope and strength in places where you might not expect to find them.

The film combines live action, AI-generated imagery, and visual effects. How did that workflow evolve?

The film was created using a combination of three different approaches: live-action footage, AI-generated imagery, and a combination of live action, AI, and visual effects.

Originally, I expected to follow a more traditional workflow: shoot everything first and then use AI and visual effects as supporting tools. But during pre-production, AI image-generation tools were rapidly improving. After experimenting with them, I found that the results worked surprisingly well, so I adjusted the entire workflow.

The final process became very different from what I originally planned. I would first try to create a scene using AI. If AI couldn’t achieve what I needed, I would solve it with visual effects. Only when neither option was suitable or practical would I shoot it in live action.

Ironically, live-action filming ended up being the part that required the least amount of time. But even though it took the least time, it became one of the most important elements of the film.

The unique texture and atmosphere of the live-action footage became the emotional center of the piece, and both the AI-generated imagery and the VFX work were built around that feeling.

What was the most difficult part of translating the song into images?

The biggest challenge was the script, especially figuring out how to translate the song into visual language.

The production and post-production side of the project felt more familiar to me. What was new was starting from a song, understanding what it was trying to say, breaking it apart, and then rebuilding it into a story that reflected my own interpretation.

I spent a lot of time listening to the song over and over again and thinking about the lyrics. One thing I found interesting was that the song could be interpreted in different ways. You could see it as a sad song, but you could also see it as a hopeful one. In the end, I chose the more hopeful direction because it felt closer to my own personality and values.

Another challenge was making sure the visuals supported the music rather than competed with it. Some sections needed to feel quieter, more atmospheric, or more restrained so that the emotional peaks later in the film would have greater impact.

I often describe this process as “arranging the visuals,” similar to arranging music. The images needed to follow the rhythm, structure, and emotional flow of the song.

Although the final production period was around 45 days, the script itself took much longer. I spent about a year developing the story, often sitting in coffee shops every week thinking through different ideas and possibilities.

Looking back, the longest and most difficult part of the project was not the production itself, but the creative process that came before it.

Is there a particular image or sequence in LOSER that you are especially proud of?

Besides the script itself, I’m most proud of the way the visuals and the music came together.

One of my favorite moments is the final shot of the film. The ending of the song has a long emotional afterglow, and for a long time I wasn’t sure how to handle that section visually.

Eventually, I used AI to extend the shot and combined it with visual effects to create the image of the doll slowly rising upward, entering the sun, and disappearing. The doll itself was added later in compositing because AI couldn’t achieve the level of precision I wanted.

When I finally put everything together, I felt that the image matched the rhythm and emotional resonance of the music very well. That was a particularly satisfying moment for me.

Another sequence I really like is the transition from the universe back to the character’s face, followed by the moment when the character opens its eyes. I think the timing works well with the music, and there’s something both beautiful and playful about that scene.

I also enjoyed developing some of the visual ideas throughout the film. The large moon seen in one sequence was inspired by a suggestion from a friend. While it wasn’t intended as a direct homage, E.T. was definitely one of the references I had in mind while creating that imagery.

Your background in visual effects seems essential to the film’s identity. How did you first become involved in filmmaking?

My background is in filmmaking, and I’ve always been interested in visual storytelling. Later, I moved into the visual effects industry and spent many years working in VFX.

Even though most of my professional career has been focused on visual effects, I never lost my interest in filmmaking itself. I’ve also always enjoyed photography and music, and at one point I even played in a band.

So when the opportunity to create LOSER came along, it felt like a chance to bring together many of the things I enjoy: film, music, visual design, and visual effects.

I had thought about directing my own projects before, but I eventually realized that some of the traditional aspects of directing—such as dialogue, character conversations, and scene blocking—weren’t necessarily what interested me most.

What I really enjoy is the visual side of storytelling: composition, production design, lighting, color, and the overall feeling of an image.

LOSER was a very good fit for me because it communicates primarily through visuals and music rather than dialogue. That allowed me to focus on the things I care about most.

I also think my years working in Hollywood visual effects gave me confidence when making creative and technical decisions. In my day-to-day work, composition is extremely important, so I’ve developed a strong sense of what kinds of images I like and what kinds I don’t.

At the same time, I’m very comfortable with technical problem-solving. If AI couldn’t generate a shot the way I wanted, I knew I could solve it through compositing or other visual effects techniques.

The way I describe it is this: it’s like running marathons for more than ten years. If someone suddenly starts chasing you, you may not know exactly how the fight will go, but when it comes time to run, you already know how to pace yourself, how to breathe, and how to keep moving forward.

That’s how I felt making LOSER. It was my first time directing a project like this, but many of the skills I needed had already been developed over years of experience.

Has making LOSER changed what you want to explore next?

At the moment, I don’t have a specific new project in production, but I have been thinking about making a short film of my own. It would probably be around five minutes long and involve a story set in space. That’s about all I can reveal for now.

One thing LOSER gave me was a renewed excitement for learning new tools and exploring new ways of creating images. Because of this project, I had to learn a lot of new technologies, especially AI-related tools and workflows.

At times I felt like I was being forced out of my comfort zone, but by the end of the project I realized I had gained a solid foundation and wanted to keep going.

The industry is also starting to look for artists who understand both AI and compositing, so I think this is an exciting time to learn and experiment.

LOSER mainly used commercial AI tools rather than more advanced open-source workflows, but the project acted like a spark. It reignited my curiosity and motivated me to continue exploring what AI can bring to the creative process.

For now, I’m interested in continuing to develop both my storytelling and technical skills, and hopefully applying them to future short film projects.

Lin Chien

What role have film festivals played in the life of LOSER?

I think film festivals act like a spark or a lighter. They bring people together, create conversations, and allow different filmmakers to exchange ideas and inspire each other.

During the festival run of LOSER, producer Lin Chien and I found that some of the most valuable experiences came not from the awards themselves, but from the conversations and connections that followed.

Those exchanges often opened unexpected doors and helped us see the work from new perspectives.

What advice would you give filmmakers approaching the festival circuit?

For LOSER, most of the festival strategy and international promotion was handled by producer Lin Chien, so this is something we discussed a lot throughout the film’s festival run.

One of the most important things is understanding what kind of film you have made before you start submitting it to festivals.

For example, both LOSER and another music video from our team, HAZE, use AI as part of their production process. However, they have very different personalities and ended up fitting different types of festivals.

Some films may work best in AI-focused festivals, while others can connect with both AI festivals and more traditional film festivals.

A lot of this comes down to factors such as storytelling, structure, tone, and visual style.

My advice would be: don’t start by asking, “Which festival should I submit to?” Start by asking, “What kind of film have I actually made?” Once you understand that, the right festivals become much easier to find.

How do you see the future of film, especially with AI becoming more visible in creative production?

I think AI is a great tool because it lowers the barrier to entry for many creators.

In the past, making certain kinds of images required large budgets, specialized equipment, or access to a professional production team. Today, more people have the opportunity to experiment, create, and tell stories using tools that were not available before.

At the same time, I don’t think technology is the most important part of filmmaking. For me, the most important function of film is still to communicate emotions.

Whether you’re using AI, visual effects, a camera, or any other tool, the goal is the same: to express an idea, a feeling, or a personal point of view.

LOSER is a good example. The song can be interpreted as something sad and self-deprecating, but I saw hope in it. Through the visuals, I wanted to share that perspective with the audience.

I think people will always want stories. They will always want to see interesting images and experience different ways of looking at the world.

In the future, we’ll probably see more creators using different tools to tell all kinds of strange, unique, and unexpected stories. Personally, I’m excited about that.

Is there a filmmaker whose work has especially influenced the way you think about visual storytelling?

One filmmaker I admire is Sofia Coppola, especially for Lost in Translation.

What I love about that film is how it conveys emotions in such a subtle way. The characters never directly say, “I’m lonely,” but you can feel their loneliness throughout the entire film.

I also find it fascinating that the story takes place in Tokyo, a city that is crowded, energetic, and full of people. Yet the characters still seem disconnected from their surroundings. They don’t feel like they belong there, but they also don’t seem to belong where they came from.

I think the way the film captures a person’s inner loneliness within such a busy environment is incredibly compelling.

Finally, is there a recent film that you admired?

Recently, one film I really enjoyed was Project Hail Mary.

I thought it was a very entertaining film, and I especially liked the way the alien character was portrayed. The alien was surprisingly lovable, which made the story both fun and emotionally engaging.

Final Cut: Why LOSER Matters

Watching LOSER, I was struck by how naturally it turns discarded objects into emotional witnesses. The film begins with things society has thrown away, but it never treats them as empty symbols. Through music, movement, texture, and image, they become strangely alive. They become fragile, absurd, funny, wounded, and hopeful.

That is what makes the film so relevant within the spectrum of independent cinema. LOSER embraces tools often associated with the future—AI imagery, compositing, hybrid workflows—but uses them to express something very human: the feeling of being unwanted, and the stubborn desire to keep moving anyway.

Independent cinema has always been a place where new tools can be tested before they are fully understood. But the strongest independent films are never about tools alone. They are about perspective. Mali Chen’s film shows that AI does not need to erase the handmade, the personal, or the emotional. In LOSER, technology becomes part of a poetic language shaped by instinct, rhythm, and melancholy.

What I find most moving is the film’s refusal to see failure as an ending. Its discarded characters do not become winners in any conventional sense. They simply find a way to rise, sing, and exist together for the length of a song. In a culture obsessed with success, that feels quietly radical. LOSER reminds me that independent cinema is often at its best when it gives voice to what has been overlooked, underestimated, or thrown away.