Reshaping the landscape of the Chinese entertainment industry

Besides the United States, the English newspaper The Guardian was even more scathing in its assessment:

"This is a 'correct' film, but not a 'powerful' film... Z's writing is like a promotional video, the family emotions are bland, and the lack of focus makes the story lose its focus. In Venice, a stage that emphasizes authorial expression, it seems too mediocre."

What He Yi'an cared about most was Jacques Audiard's evaluation:

"The film has warmth, but lacks sharpness. The relationship between the government and the people is handled too smoothly, without real conflict and struggle. It's too idealistic and doesn't align with general perceptions. The use of negative space doesn't enhance the atmosphere; instead, it weakens the dramatic tension."

He's a judge!

His words directly affect whether the film can win awards.

Unexpectedly, the first judge to jump out and explicitly criticize his film was him; He Yi'an had thought it would be the judge who didn't even show up.

However, after thinking about it for a moment, he understood the reason.

Jacques Audiard represents the European art movement, and it's understandable that he wants to promote his own films and suppress those of the other side.

After all, looking at this year's Venice jury and the award-winning films in the past, you can see that they are divided into four factions.

European art school, Hollywood technical school, Asian humanistic school, Russian and European historical school.

Each faction will support different movies.

Amidst all the chaotic comments and criticisms, the most noteworthy were a few words spoken by Gong Li during an interview after watching all the films in the main competition section:

"The film 'Fireworks in the Human World' reminded me of everyday life in China. It doesn't shout slogans, but it makes you feel the government's efforts and the resilience of ordinary people. The unspoken fates are more moving than deliberate tragedies."

She didn't explicitly say whether the movie was good or bad, but her identity made everyone understand the message she was conveying.

Subsequently, the criticism of He Yi'an's films subsided somewhat.

However, due to the delay in communication, criticism from Venice seemed to have decreased, but some earlier comments had already reached China...

Of course, He Yi'an was unaware of the news from within China. After reading all the newspaper comments, he remained somewhat silent.

At this moment, he finally understood why people at the beginning of the century were so eager to prove themselves to the world.

He simply made a film and objectively described the events, yet he received such criticism.

All I can say is that, within the Western discourse system, if you want to completely reverse this situation, Jiang Wen is right: you have to bring your aircraft carrier to their doorstep.

You have to completely destroy their sense of superiority.

Everything else is just empty talk!

Comrades, we still need to work harder!

Yu Feihong sat down next to him, looking at his expression with some concern: "An-ge'er, are you alright?"

"It's alright." He Yi'an put down the newspaper in his hand. "I expected this to happen."

He had indeed anticipated this.

In this era, Western media's expectations for Chinese films are criticism and exposure.

Most of the Chinese films that win awards at Western film festivals are about "suffering" and "darkness".

They even forbid the working class from being happy!

This point specifically criticizes "Hidden in the Dust".

He Yi'an does not deny that the film is well-made in some aspects and the actors performed very well, but it has a fatal problem, which is also easily overlooked: its arrogant and condescending attitude.

None of the characters from the lower class in this movie are happy or joyful.

This reflects the lower class's self-perception as a petty bourgeois, who believe that the poor do not deserve happiness.

After reading it, I felt that life was meaningless. I don't deny that there are indeed such people in big cities. In the atomized social structure, everyone is isolated, and social contact and communication decrease. There are indeed such people.

The issues involved are more complex, and those who are interested can look into it; I won't go into details here.

However, this is certainly not the case in rural areas, among the truly impoverished people.

It's common for them to crack jokes, tell anecdotes, or even sing a few lines for no reason.

After all, life is tough, so you have to find something sweet to enjoy, right?

But this is what the bourgeoisie likes to see, this is what they want China to remain as it is, and this is what they imagine it to be.

He Yi'an's films, on the other hand, are about warmth and hope.

In the eyes of Westerners, this kind of movie is "unrealistic" and "supporting the government".

But he doesn't care.

Because what he photographed was what he wanted to photograph.

This is the China he sees, the China he believes in.

"Let's go," He Yi'an stood up, "Let's go out for some fresh air."

As soon as they stepped out of the hotel, they were surrounded by a group of reporters.

"Alex, what do you think of Variety's review?"

"Mister He, some people say your film is a show of support for the government. How do you respond?"

"Mister He, do you think you can win the award?"

He Yi'an stopped and faced the reporters.

"My film depicts the China I see. Some people think it's good, some people think it's bad, but it's all China, a developing country."

"As for winning an award..." He paused, "I'm already very happy to have been shortlisted. Whether I win or not depends on the judges."

After saying that, he pushed through the crowd and walked out.

Behind him, the reporters' voices were still chasing after him.

As for Alex, it's his pseudonym, the name he used to publish "The Hunger Games" and register his screenplay in Hollywood.

……

At the same time, public opinion in China began to ferment.

The controversy sparked by "Fireworks in the World" in Venice was immediately reported back to China.

Major media outlets rushed to report on it, with headlines that were increasingly sensational.

Nanfang Entertainment: "He Yi'an's Venice Film Festival sparks controversy; Western media criticizes him for 'supporting the Chinese government'."

The Beijing Entertainment News: "3.0! He Yi'an's new film receives polarized reviews, and its chances of winning awards are worrying."

The Beijing News: "From being ridiculed to being adored, and then to being questioned, He Yi'an's journey to Venice has been full of twists and turns."

But what really complicates things is the voice of those public intellectuals.

A renowned critic wrote a long article on his newly launched blog titled "He Yi'an, are you photographing China?"

"An 18-year-old made a film about laid-off workers, yet he portrayed the government as so 'good.' Is this realistic? Is this believable? Did he truly try to understand the lives of those laid-off workers? Did he witness their tears and despair?"

"No, he's just a well-protected 'prodigy,' and his movies are nothing more than another form of 'propaganda.'"

This article was immediately shared widely after it was published.

All sorts of monsters and demons have emerged.

In an interview, a university professor said, "He Yi'an's films are a betrayal of reality. True art should confront darkness, not whitewash it."

One writer wrote on his blog: "To be shortlisted for Venice at the age of 18, what forces are driving this? Isn't this another kind of 'relationship'?"

One director went so far as to criticize: "A kid with no life experience made a film that is unrealistic, unreflective, and uncritical, and he still got to go to Venice. This is not a source of pride for Chinese cinema, it's a tragedy for Chinese cinema."

These voices were overwhelming, almost drowning out all discussion about the film itself.

Only a few voices were speaking for He Yi'an.

In an interview, Mu Deyuan said, "My student made a good film. He didn't betray anything; he just filmed what he believed in. Have those who say he's 'unrealistic' even seen his film?"

"No, they just read a few comments and think they're qualified to judge."

Zhang Yimou declined to be interviewed, but his assistant revealed that after watching "Fireworks in the Human World," the director said four words: "When I was his age, I couldn't compare to him."

Han Sanping even stated directly in an interview with a reporter from the China Movie Channel in Venice: "He Yi'an's film is one of the few films in recent years that positively portrays the lives of ordinary Chinese people. It does not avoid the issues, nor does it deliberately sensationalize; it depicts the real China."

But these voices seem too weak in the face of overwhelming criticism.

It can only be said that He Yi'an had already foreseen all of this after making this film.

After all, this is an era where public intellectuals abound, and before anyone speaks, they have to recite a few ancestral precepts: "What's wrong with this country? It always seems to be at the expense of the people. I'm pondering this, and I'm asking myself, 'If it's good, then it's fine...'"

Ask about the drawbacks of the body's constitution?

Now that someone has actually appeared who dares to go against them, why don't we just crush him? What are we waiting for?

Of course, some people genuinely think he didn't film it well, while others are just trying to ride the wave of popularity, some have different stances, and many more are simply following the trend after being misled.

He Yi'an knew from the beginning that his film was not made for these people.

Only the silent majority and those who truly want the country to prosper are his audience.

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