The genesis of "Fuxi" traces back to the global lockdowns, when Qiu observed a heightened desire for everyday normalcy and communal gatherings. This observation crystallized into a film concept centered around food—not merely as sustenance, but as a powerful symbol of connection and continuity across time. The title "Fuxi" itself, an opening title card explains, encapsulates both the delight of food and the fundamental act of eating.

Unlike Qiu's previous acclaimed work, "A New Old Play," which delved into an individual's personal history, "Fuxi" presents a quartet of short stories, each unfolding in a different era. From prehistoric times to the Song dynasty, the narrative weaves through fantastical scenarios, with each chapter using a shared meal as its anchor. Qiu explains his intention to explore "a kind of relativity specific to this film – the relationship between the large and the small, or between a meal and the sun and the moon," using the characters' individual lives to ponder grander questions of existence.

A notable departure for Qiu was his decision to work with professional actors for the first time, an experience he credits with broadening his creative horizons. The film features a unique linguistic challenge: its entire dialogue is spoken in the Leshan dialect of Sichuan province. This required significant preparation for the cast, including Taiwanese stars Lee Kang-sheng and Lee Hong-chi.

Lee Kang-sheng, renowned for his collaborations with director Tsai Ming-liang, takes on the demanding roles of two elderly women from different eras, including a dying grandmother in the prehistoric segment. Qiu was drawn to Lee's "mysterious quality," which he felt was "perfectly suited to a character from ancient times," inspiring him to cast the actor in female roles. Lee, despite the dialect challenge, embraces such opportunities, stating, "Whether I’m playing a gangster or an old woman, I want to bring my own version of Lee Kang-sheng to the role."

Meanwhile, Lee Hong-chi portrays the Song dynasty poet Su Dongpo. He expressed admiration for Qiu's distinctive visual aesthetic, noting that while the dialect was a significant hurdle, he was eager to be part of the film's "nonrealistic aesthetic and the world Qiu had created."

Beyond the screen, Qiu Jiongjiong continues his exploration of similar themes in his solo exhibition, "Qiu Jiongjiong: Fuxi: A Feast for the Universe," currently running at Chengdu’s A4 Art Museum. This multidisciplinary show, built around three Sichuan-style banquets, employs painting, video, and installation art to delve into regional culture and its philosophical views on life and death. While "Fuxi" competes for top honors in Tokyo, the versatile artist is already developing his next project, keeping its subject and medium under wraps for now.

Lee Kang-sheng's recent work includes wrapping Iván Fund’s science-fiction film "Bodies of Summer." He remains open to diverse roles, even suggesting an action or martial-arts film to step outside his familiar screen image, reflecting his continued appreciation for films by action stars like Jason Statham.