China Entertainment: Indulge in Vanity Fair

Chapter 165 I'm optimistic about it, but I don't think it's sharp enough

"I didn't protest the death penalty, and I didn't think there was any need for indulgences. Although my films describe the punishment of the law and the atonement of criminals, I don't think the death penalty should be abolished, and atonement can solve the problem."

"Why? The death penalty can't solve the problem, and it has no human rights. Isn't it a better punishment to punish the criminal and let him sit in prison? We also have to give those who have repented of their lives a chance to be human again, so indulgences are not Should it?" Nuel Bourdo.

He Fang is sometimes annoyed to attend the three major film festivals, because they always talk about politics, the system, and criticism with you.

Always trying to instill values ​​in people who are different from Western values ​​through movies, he hates this kind of private goods.

He feels selfishness towards Westerners, just like some netizens in China who have been brainwashed by the West hate people talking about patriotism. He doesn't like it very much.

"Some crimes can be forgiven through physical and mental punishment, which can give them a chance to be a new person. But some crimes cannot be redeemed, and must be punished by the law's ultimate criminal law."

"I don't think the death penalty can be abolished. The reason why the death penalty is not abolished is because society needs fairness and justice needs to be done. Just like a murderer, when he deprives others of his life, he is not afraid that his own life will also be lost. Then he will become You have to be reckless and kill people at will."

"And the families of the people who were killed because the criminals didn't get the punishment they deserved, then they don't feel that their justice has been served, and the death of their loved ones has been executed fairly."

"As for the indulgences you mentioned, can ordinary people get them? How much is an indulgence? It's cheap, and it seems that the indulgence is not holy. Some people are even more presumptuous when they commit crimes. Anyway, if they commit a crime, they can buy one. That's the redemption."

"It's expensive, ordinary people can't afford it, and it will become a power that only the rich can afford. In the end, it will only become a privileged tool for the rich to avoid legal punishment."

"For example, your high bail system, you say that this law is set up to reflect the equality of everyone, but can the poor afford the bail? Isn't it the right of the rich in the end? The so-called rationality in the West is actually It doesn't make sense at all."

"If the law loses its fairness, what's the point of promoting equality for everyone? Doesn't it mean that the law is only for ordinary people? The rich and powerful can use the loophole to escape?"

He Fang gave a series of sharp answers. Nuel Bourdo fell into deep thought. He wanted to refute, but he was not a jurist and couldn't find new ideas to refute, but how could it be possible for him to admit it?Didn't that shake his liberal, universal values?
In the end, Nuel Bourdo could only open his mouth, but couldn't speak, and then changed the subject.

"You said that "Single Zoo" is full of imagination, and "Scorching Sun" is extremely real. Why did the style change so drastically? Isn't that kind of unrestrained imagination best reflects the imagination of your young director? It is extremely real It feels like the work of a middle-aged director."

This question still has some quality, He Fang replied after thinking for a while.

"Imagination also has boundaries. Imagination is an occasional inspiration. In fact, I said it in a lecture at a Chinese film academy. I don't advocate that you continue to use inspiration to create, but I advocate that you use experience to create."

"Because the inspiration is extremely limited, there will not be a few times in a lifetime. And like "Single Zoo" is the product of the only few inspirations, I can't continue to output. Maybe the next time I have a similar inspiration , I will create better works."

When He Fang said this, Nuel Bourdo suddenly realized.

"So, have you temporarily run out of inspiration?"

"Of course not, because I have also made an imaginative sci-fi blockbuster like "Pacific Rim", and I will make a fantasy and mythological blockbuster with rich imagination."

"What I mean is that sometimes the inspiration comes out in a different way, and it can't always happen in the literary films I want to make."

He Fang said that Nuel Bourdo understood better.

"It means that your current energy is mainly focused on commercial blockbusters, so the inspiration for literary films should be allocated less?"

He Fang spread his hands speechlessly, he didn't know how to explain.

"Well, I found a bright spot in your movie. That is, your performance in this movie is better than that of "Single Zoo". Why? Was it specially trained?"

……

Nuel Bourdo then asked a lot about creation. Of course, there were no more pointed questions, because he also saw that He Fang didn't like to talk about more in-depth issues.

By the time they finished the interview, it was almost three o'clock in the afternoon.

However, He Fang did not move, because he will be interviewed by "Sight and Sound" next, and he is also here.

After the interview with "Sight and Listening", there will be Hong Kong film magazine "Watching Movies", the mainland magazine "Contemporary Film" magazine, an exclusive interview with Central Six, as well as Taiwanese film magazine "FA Movie Appreciation", and even "Hollywood Reporter" ", "Silver Screen" will interview him.

There are also "Film Xunbao" in Japan and "FILM2.0" in South Korea that have sent applications to other places.

There are also interviews with other non-specialized film magazines, entertainment or big portal media.

To put it bluntly, if your film is shortlisted or won an award, this is an opportunity to become famous and expand your influence.This is also the reason why many movies have to break their heads, the temptation is too great.

It is this temptation that has led some filmmakers to change sides and take sides with their own countries.

"He Fang's new movie premieres in Venice, attracting response"

"Wei Desheng: It's Hard to Believe Director He Fang Wants to Make Such an Excellent Movie and At the Same Time Perform an Actor-Level Performance"

"Daniel To: Seeing the brilliance of the young director He Fang, I feel that the film's Feng Shui has moved to the mainland"

"Xu Anhua: It's hard to believe that such a powerful and in-depth movie was made by such a young man as He Fang"

"Andy Lau: I hope to cooperate with He Fang one day"

"Liu Qingyun: Our Hong Kong movies have to work hard"

"Where the Venetian atmosphere invites filmmakers from Taiwan, Taiwan, Taiwan and Taiwan to cooperate with him"

"As long as you don't play tricks, where do you welcome all filmmakers from the two sides of the strait and the three regions"

"He Fang: I want to cooperate with Hong Kong filmmakers, but I can't speak the language"

"Xu Haofeng: He Fang's movies are too powerful, and he has a very high personality"

……

While He Fang was being interviewed by various media, domestic media also reported on it one after another.

And those film critics who finished watching the movie couldn't hold back and began to write film reviews, score and contribute to the show catalogue. The time has come to September 9th, and the Venice International Film Festival has entered its fourth day. Nothing happened.

Because there is already a "Scorching Sun" that is also a crime theme, there is no need to add another crime movie.

And who has more international influence, He Fang or Cai Moujun?Does anyone know what this is called Cai Moujun?
Of course, this day's program also updated the scores of the films that have been screened in the main competition unit.

Polish master Roman Polanski's new work "Killing" has been fully praised by film critics, ranking first with a media score of 3.9 (out of five).

Chinese director He Fang's film "Scorching Sun" ranked second with a score of 3.68. Among the 21 media that scored, three gave 4.5 or more, four gave 4 or more, and ten scored 3 or more. Four teams scored more than 1 point.

British young director Steve McQueen's new work "Shame" is starring the popular Michael Fassbender. back.

George Clooney, the darling of the Venice Film Festival, once again entered the main competition with "March 3.45", which he directed and acted in, and ranked fourth in the program score with [-] points.

"Dangerous Methods", which tells the famous psychoanalyst Freud and Jung's master-student rivalry, ranked fifth with 3.07 points.

The famous French director Philippe Carlyle's "Hot Summer", although Italian beauty Monica Bellucci helped out, also received negative reviews and ranked second from the bottom with a score of 2.7.

Taiwanese director Wei Desheng's transformational epic work "Sedek-Balai" has a poor reputation, ranking last with a score of 1.78, and seven media outlets scored a low score of 1 star.

Moreover, He Fang's work narration at the premiere and some media's comments were also published in the show catalogue.

Of course, it won’t be a long story, it’s just a one-sentence or two-sentence evaluation, such as:
BBC Culture: We haven't seen the sharpness of He Fang's new film. Although the film is excellent, he has lost the critical spirit of a filmmaker.You can give 3 points for performance, 2 points for plot, but only 1 point for artistry...

Film starts: He Fang's new film is still powerful, but this time He Fang did not focus on social phenomena, but used a case adaptation to analyze human nature, good and evil, and law.In addition, He also participated in the performance, and his performance in the film can be called the best actor level. The whole film can be given a high score of at least 4.5 points.

IndieWire: This is different from the discussion of Western values. We can see the struggle between morality and evil in Asian films, and the enforcement of law above human feelings.The film should be given a positive affirmation and can score 4 points.

Deadline: Although the film explores human nature, good and evil, as well as law and love, I personally think that He Fang has no spirituality and lacks the imagination of the previous film.Therefore, I give 2.5 points.

Cineeuropa: The movie "Scorching Sun" is very tense. The three criminals are in constant panic all day long, tortured by crimes every day, and entangled with the police all the time. Praying to God in my heart they are ok.But He Fang is obviously on the side of the law. Although people have feelings, the law is ruthless. The law determines the bottom line of society.I give the movie a 4.6.

……

He Fang didn't bother to read the ratings and comments of these show catalogues, because it was useless at all, and it couldn't affect whether the movie won an award in the end.

When he was in Cannes last time, he didn't even read the ratings in the program book, and he didn't want to read it this time either.

He and the main creator of "Scorching Sun" have been being interviewed until the afternoon of the 4th, because they will attend the premiere of "Sister Tao" in the afternoon.

Before leaving for the premiere of "Sister Tao", everyone had a dinner. There was really nothing delicious, so we just made a pizza set meal and it was resolved.

At 04:30 in the afternoon, they went to the Sara Grande Theater together.

"Director He, you are welcome to join us." Xu Anhua warmly held He Fang's hand.

"Ha, you must watch Director Xu's movie."

"Then we should criticize and give opinions later."

"Oh, then I guess I'll have to scratch my head to come up with a criticism. Director Xu is too modest."

"Haha, please come in..."

"Hello Brother Hua..."

"Hello Ms. Ye..."

The movie "Sister Tao" needs no introduction, does it?Anyone who has seen it will give it a thumbs up.

This movie is not sharp, does not preach, and has no intense plot conflicts. It just talks about a domestic helper's retirement, and then gets the warm care of the host, and staged a special "mother-child" relationship.

However, with this kind of gentle explanation, can't the audience see something?
A domestic servant has received pity and care from the master. Is this the master's benevolence, or is the domestic servant's life miserable?
This kind of warmth between classes is just the rich people showing the poor people a side that moves them.

Xu Anhua's method is very subtle. He clearly talks about "mother-child relationship" and seems to talk about class integration, but it may be talking about the tragedy of the bottom class in Hong Kong society.

Sister Tao only appears in movies, what about in reality?Can domestic helpers really get such care from the master?How many have produced 'mother-child love'?

(End of this chapter)