Huayu Entertainment 1995 started with hijacking.

Chapter 198: Private screening of Chinese-language films!
"Meeting an old friend in a foreign land, how delightful!" The three cups clinked together.

In a restaurant in Venice, three classmates from the Beijing Film Academy sat together chatting and laughing. One was Zhang Yimou, born in the 50s; the other was Zhang Yuan, born in the 60s; and the third was Wu Yuchen, born in the 70s.

Zhang Yimou and Kai were the leading directors of the 50s. In terms of achievements, Zhang Yimou was actually better than Kai, but his ability to network was far inferior to Kai's.

Needless to say, Wu Yuchen was unparalleled in the 70s. No one could even compare to him, let alone see his backside.

Before Jiang Wen made "In the Heat of the Sun," Zhang Yuan was considered a leading figure among directors of the 60s.

After putting down his cup, Zhang Yimou smiled at Wu Yuchen and said:
"You've stirred up quite a storm in America this time; it's all over the country!"

Now that it's September, "The Sixth Sense" has grossed over $300 million at the North American box office. This achievement is already highly praised in Hollywood, and when it gets back to China, it drives people crazy!

China is not lacking in directors who can make art films, such as Zhang Yimou and Kevin Cheng, but it has never produced a great director like Wu Yuchen who can repeatedly make waves in Hollywood and conquer America!

Wu Yuchen modestly remarked, "This result also exceeded my expectations; there was an element of luck involved. The film market and audience tastes are constantly changing and difficult to predict."

Zhang Yuan laughed and said, "If someone else said that, it would be fine, but with three movies that have been huge hits in America, each one better than the last, you shouldn't be so modest! I think our school should invite you back to give a special lecture so you can share your experience. We can all go and learn from you!"

Wu Yuchen chuckled upon hearing this: "Senior Brother Zhang Yuan, I would believe it if someone else said this, but even if I really said it, you might not be willing to film it the way I said!"

Upon hearing this, Zhang Yuan fell silent, only smiling and waving at Wu Yuchen. Many people say that Jia Zhangke loves to film marginalized figures, but in fact, Zhang Yuan is the first person in China to film marginalized figures.

Upon graduating in 90, he self-funded the film "Mama," which focused on families with intellectually disabled children. This film was the first independent film in mainland China and won awards at international film festivals, but unfortunately, it was banned. In 92, he directed "Bastards in Beijing," which focused on the underground musician community. It is considered the first rock film in China, reflecting the spirit of contemporary youth. It won an award at the Locarno Film Festival but was also banned, and he was prohibited from working in film again.

In 97, Hu Jun starred in one of China's earliest films with a gay theme, *East Palace West Palace*. He was cast in *Lan Yu* because director Stanley Kwan was impressed by his performance in that film. This year, Zhang Yuan brought his newly completed film *Going Home for the New Year* to the Venice Film Festival; the protagonist is a female prisoner about to be released. It's truly remarkable how each of his films features a different character from marginalized groups in society!

Upon hearing this, Zhang Yimou also remarked with emotion:

"Many people in China look down on commercial films, but not just anyone can make one. I made a film called 'Code Name Jaguar' 10 years ago, and it almost made me sick. After two days of filming, I felt awkward and everything felt wrong. If I didn't want to waste people's money, I would have quit!"

Zhang Yimou has directed commercial films before, such as *Code Name: Jaguar*, released in 1989, starring Ge You and Gong Li. The subject matter was very novel and ahead of its time. The film fictionalizes a terrorist hijacking incident that involves international relations across mainland China, Taiwan, Hong Kong, the United States, South Korea, and other regions. Ultimately, through multi-party cooperation, the hijackers are successfully eliminated. The script has the typical structure of a Hollywood blockbuster, while also featuring portrayals of individual heroism and a grand, international narrative.

However, to put it simply, Zhang Yimou didn't want to continue filming after only the beginning. This was because both the prevailing artistic environment in China at the time and Zhang Yimou's personal pursuits prioritized artistry and a deeper, more thought-provoking message. In the end, Zhang Yimou forced himself to finish filming for over twenty days, and the later parts almost resembled a music video, resulting in a rather anticlimactic ending.

Upon its release, it was met with a barrage of criticism. The art world of the 1980s couldn't accept a director who had just won the Golden Bear at the Berlin Film Festival producing such an entertaining and unserious work. Audiences also felt that the idea of ​​a terrorist hijacking happening in China was too unbelievable, and they joined in the criticism. In addition, his affair with Gong Li was exposed, and Zhang Yimou was almost in a state of depression. He went to Hong Kong and starred with Gong Li in "A Terracotta Warrior's Tale".

Zhang Yuan nodded in agreement and said, "We filmmakers should only make films that we're happy with. Otherwise, it's like making movies in shackles, and it'll be painful no matter how you make them."

Wu Yuchen asked, "Senior Brother Zhang Yuan, what kind of subject matter are you planning to make for your next movie?"

Wu Yuchen is quite curious about this, because those who can get his eye on are basically marginalized groups, and there has never been a repetition of this. He wonders what the theme of his next movie will be.

Zhang Yuan became interested as soon as he heard the topic: "I don't know if you've heard of transgender people!"

"A transgender person?" Wu Yuchen and Zhang Yimou said in unison.

“Yes, when I was preparing for ‘East Palace West Palace,’ I met a person named Jin Xing. He was the first transgender person in China, and he had the surgery in Beijing. So I made a documentary about him, and I’ve been following him for more than four years now. When I go back this time, I’ll film a wrap-up, and the film will be almost finished! It’ll be called ‘Miss Jin Xing’!” Zhang Yuan introduced his achievements to the two of them.

Zhang Yimou was impressed by Zhang Yuan, thinking that his junior colleague truly deserved to be the number one director among marginalized groups!

Wu Yuchen exclaimed, "Wow, so this is the documentary you filmed for Jin Xing! Your eye for discovering marginalized figures is truly unmatched!"

……

"Zhang Huike! Where have you been?!"

With its down-to-earth cries and documentary-style perspective, Zhang Yimou portrays culture and knowledge as useless and out of place on the rugged land. When he focuses his perspective on the vast rural people, it always feels so warm and gentle, simple, direct, unpretentious, and ordinary, yet it contains a powerful force.

After watching "Not One Less," Zhang Manyu, one of the judges at this year's festival, was deeply moved and praised Zhang Yimou, saying that he truly lived up to his reputation. This is a film that is very simple, traditional, commonplace, and even old-fashioned in both content and form, but it manages to capture a sense of authenticity and power within its commonplace nature.

Looking at the expressions of the judges around her, Zhang Manyu realized that many others shared her sentiment, especially the current jury chairman, Kusturica, who spoke highly of her.

"The concern and love for the nation and the land shown in this film is truly moving!"

Kusturica was a master of Yugoslavian cinema and one of the few members of the double Palme d'Or club. While Chen Kaige spent his entire life winning the Palme d'Or, Kusturica had two, and he also won the Silver Bear and Silver Lion for Best Director. He particularly admired national cinema; his Palme d'Or-winning film, *Underground*, was made for his homeland, Yugoslavia.

Judging from the current situation, Zhang Manyu felt that director Zhang Yimou had a good chance of winning the Golden Lion this year. She was also impressed by the high quality of Chinese-language films at this year's Venice Film Festival. She had seen Zhang Yuan's "Going Home for the New Year" yesterday, which was highly regarded by many judges. She wondered what surprises director Wu Yuchen's "Love" would bring them tomorrow. Thinking of Wu Yuchen, Zhang Manyu felt a pang of regret. Last year, Wu Yuchen had personally called to invite her to star in "Mr. Donkey," but she had to decline the role because she had already agreed to star in Wong Kar-wai's "In the Mood for Love."

When she saw "Mr. Donkey" win the Golden Bear at Berlin, and Gong Li was crowned Best Actress at the Berlin Film Festival, Maggie Cheung couldn't help but feel a pang of regret. Speaking of "In the Mood for Love," Wong Kar-wai's old habit kicked in again; filming had been going on for a year and it still wasn't finished, causing Maggie Cheung a lot of suffering. She's now so tormented that she's starting to lose focus between her character and the role.

If she has to choose again next time, she should definitely choose Wu Yuchen!

The next day, when the lights in the theater came on, Maggie Cheung finally snapped out of her immersion in the film. She touched her face, which was already wet with tears.

Another female judge covered her mouth and exclaimed, "My God, Director Wu Yuchen's shots are so cold, I don't even have the courage to watch them a second time!"

Maggie Cheung didn't speak, but she completely understood what she meant. The reason was simple: the movie "Love" was too real, too heavy, like things we've always been afraid to face—murder and bloodshed, unforgettable and deeply disturbing.

"Watching this movie revealed my deepest fears. Aging means slow movement, sluggish reactions, and memory decline; aging means rough skin, bald teeth and hair, and an unsightly appearance; aging means being plagued by a hundred diseases and barely clinging to life... There is no greater sorrow than old age, but I will eventually grow old too! The performances of the two veteran actors were truly breathtaking!"

Shozo Ichiyama from Japan let out a long breath. This was a fear that no horror movie could ever give him, because horror movies are all fake, but this movie was so real it was suffocating!

No one can escape the fate of aging and death. Isn't life more cruel and terrifying than any movie?

The oldest judge this year, over seventy years old, made Du Xie sigh:
"Life and death are like the dove in the movie, impossible to catch or keep. Only love that lasts a lifetime is eternal, and perhaps letting go is the most precious thing. Minimalist and restrained, with profound inner strength, numerous images, despair and oppression, but also indescribable delicate emotions. No other film at this film festival has moved me more than Wu Yuchen's 'Love'!"

The jury president for this year's film, Kusturica, shook his head slightly. Frankly, he still preferred Zhang Yimou's *Not One Less*. It wasn't that *Amour* was bad, but rather that it was too cruel; its visual style was cold to the point of being almost callous, completely opposite to the passion and madness in his personal works. However, he also had to admit that the film could be said to have taken realism to its extreme, and it wouldn't be an exaggeration to call it one of the representative works of realism.

This year's Venice Film Festival attracted extra attention in China due to the participation of two renowned Chinese directors, Wu Yuchen and Zhang Yimou. On the day of the awards ceremony, not only the China Film News and Film Weekly, but also Sina, NetEase, and Sohu sent reporters to be on the scene, just to get the final award winners as soon as possible.

Wu Yuchen walked the red carpet, waving casually to fans and reporters. He wasn't faking it; the pressure genuinely wasn't as intense anymore. After winning the Berlin Golden Bear earlier this year, he felt his desire for the top three European awards had diminished somewhat.

It's not that he didn't want to win the Palme d'Or and the Lion, but rather that once something is satisfied, the inner desire and urgency for similar things will decrease.

To be honest, his real goal for "Amour" was the Oscar for Best Foreign Language Film. He wasn't aiming for the Golden Lion at Venice; he just wanted any major award, whether it was a jury prize, Best Director, or Best Actor/Actress, to facilitate his Oscar campaign.

Therefore, Wu Yuchen's relaxed demeanor was genuine. They couldn't just give him a consolation prize and let him go empty-handed, could they? If they did, he'd never come to Venice again.

"Best Actress... Natalie Bay, for 'Erotic Anecdotes'!"

Clap clap clap clap, Wu Yuchen clapped.

"Best Actor... Jim Broadbent for 'Upside Down'!"

Wu Yuchen clapped again, but in his heart he was thinking that both Ge Cunzhuang and Wang Danfeng had performed very well. Especially Wang Danfeng, who deserved a Best Actress award.

At the same time, he was also thinking to himself, there are only three awards left, and he hasn't claimed any of them yet. Which award will he win?
"Best Director... Zhang Yuan for 'Going Home for the New Year'!"

Zhang Yuanxing stood up excitedly; this was the highest honor and award he had ever received.

Wu Yuchen also applauded. Zhang Yuan had won this award in his previous life, so he wasn't affected by it. Moreover, with Zhang Yuan winning Best Director, only two awards remained, and neither he nor Zhang Yimou had yet received theirs!
Since the Venice organizers notified them to attend the awards ceremony, they shouldn't be trying to fool these two great directors. That means that the three most prestigious awards tonight will be swept by Chinese-language films!

"The Jury's Special Award..."

Unlike the other two major awards, Venice has both the Grand Jury Prize and the Special Jury Prize. Before 2012, the Special Jury Prize was awarded to the runner-up, and its prestige was higher than the Grand Jury Prize, second only to the Golden Lion. After 2012, this award was switched with the Grand Jury Prize, and Wu Yuchen couldn't understand why the organizers did this.

"Not One Less!"

Upon hearing this, Zhang Yimou grinned and stood up. He was quite satisfied with winning second prize at the Venice Film Festival, completely unaware that he had won the Golden Lion in his previous life.

Wu Yuchen mechanically clapped, watching Zhang Yimou walk onto the stage. Could this mean...?

As his heart raced, the last presenter to go on stage pulled out a slip of paper from the envelope and shouted:

"The winner of the Golden Lion for Best Film at the 56th Venice Film Festival is..."

""like"!"

(End of this chapter)