China Entertainment 2000.

Chapter 203 The sensation caused by non-participating films

"Film and Television Weekly":

Jiang Liu constantly shows the ferocious horror of monsters, and uses the emotions of the characters to pull the audience in, so that you can be deeply affected. Every scene in "The Host" shows Jiang Liu's courage as a director.

For such a director, we don’t want to throw him into the gutter

Le Figaro:

Apart from the poor special effects, there is no fault in "Monster".

Jiang Liu is more like a director who has directed many films, rather than a young director coming to Cannes for the first time.

"Hollywood Reporter":

On the one hand, "Monster" draws on the traditional conventions of Hollywood genre films and uses them flexibly.

On the other hand, it deliberately avoids its weaknesses in special effects and instead uses its own unique cultural elements as the focus of the narrative to make up for it.

"Le Monde":

Let the powerful force open your head, be humiliated by the media, be deceived by rumors, and be sterilized by pursuing your beliefs.

Hesitating and missing every time he shoots at the ugliness, and blindly fleeing will only lead to loss of reason.

Trapped in the sewer, unable to find an exit in all directions; opening a can of fish, hungry and unable to eat flesh and blood.

Monsters eat people and spit out bones, and some eat people without leaving a trace. We all live by the Han River, looking at the calm water and wondering what giant beast is hiding underneath.

Authoritative French magazine "zurban":

If "Monster" was an entry in the main competition of the 57th Cannes Film Festival, I would give this movie four stars.

When everyone thought "Monster" was a boring popcorn movie from Hollywood.

Or niche horror scream movies.

However, young director Jiang Liu did not simply create a horror atmosphere.

In addition to several terrifying scenes of monsters eating people and spitting out human bones, the film uses two topics, family ties and society, to be presented in parallel. In a black humor and horror atmosphere, it depicts a series of social issues about environmental pollution, corruption, and indifference. , making the film both tangible and meaningful

Cannes houses.

Jiang Liu posted news reports and comments about "Monster" from Western film critics, media, and Cannes calendars.

He personally directed the movie and knew that "Monster" certainly had flaws. There is no perfect movie in the world. The media and film critics were a little harsh on it.

But it is understandable that criticizing Yingjiang at this Cannes Film Festival is politically correct.

Otherwise, the film that won the Palme d'Or at the 57th Cannes Film Festival would not have been "Fahrenheit 911/," which was extremely politically correct and was banned from screening in North America.

"Monster" not only satirizes Eagle Sauce, but also fits the environmental protection topic that is currently the most talked about in the West. The plot and performances are also interesting and not boring. "Monster" cannot be tolerated in Cannes.

"The Cannes organizing committee wants to show "Monster" again in the Debussy Hall, which can accommodate 1068 people."

Jiang Liu put down his knife and fork and said speechlessly: "The organizing committee's plan is to treat me as the hero?"

No movie tickets are sold during the Cannes Film Festival, and tourists need to buy a certificate in advance to watch the movie, so "Monster" did not make any box office revenue when it premiered in Cannes.

If the Cannes organizing committee had arranged "Monster" in the lobby in the first place, Jiang Liu should have expressed his gratitude and expressed goodwill to Cannes.

After the film was released, the media and audiences praised it. The Cannes organizing committee was driven by profit to arrange a hall for "Monster". Of course, Jiang Liu felt unhappy.

Photos of him with the princess, Carina Lau, Maggie Cheung and others.

The cheers and applause of Cannes fans have been captured by the accompanying reporters, and with the promotional materials in hand, he has no reason to screen the film for free to generate revenue for Cannes, unless

After thinking for a moment, Jiang Liu told He Jing: "It's okay to show another show, but the red carpet and other treatment must be arranged, and "Monster" will be as open to film producers as possible. There must be at least two members of this jury."

Cannes knows how to think, and Jiang Liu is not bad either.

"Monster" can be screened again for free. The treatment at Cannes must keep up. Quentin Tarantino, the chairman of this year's jury, does not need to come. Two other members of the jury must come to watch the movie with the audience and take photos. .

"I'm going to negotiate." He Jingxing ran out in a hurry and almost ran into Li Meijing who had just entered.

"Director Jiang, this is Billy, engaged in selling movies in Europe."

"Have you ever talked? Is it reliable?" Jiang Liu asked Li Meijing in Korean.

After the Cannes Film Festival opened yesterday, media reporters and film producers from all over the world gathered here.

According to French official media reports, there are more than 2000 journalists from all over the world in Cannes at this time, and hundreds of film studios, large and small.

Among them are genuine film producers, some are fake, and some are unscrupulous film producers such as Harvey Weinstein. It’s very easy to be deceived if you don’t identify carefully.

"It is indeed a film producer, but a small one. The distribution countries are usually Switzerland, Poland, Slovakia, and even Iceland, which have a population of millions or hundreds of thousands."

"That's okay." Jiang Liu switched to English in a second and looked at the bald man with a smile, his eyes revealing the shrewdness of Billy.

If "Monster" wants to make money, overseas distribution rights are a top priority.

It makes no sense to implement distribution sharing for movies in small countries such as Slovakia. The box office sharing from small countries is not estimated to be enough to offset the accommodation expenses and round-trip air tickets for Yixin staff stranded in Europe. Selling it in a package is the best option.

Jiang Liu wants to share as much of the box office as possible in several populous European countries.

As for North America, the world's largest movie box office, since Columbia Pictures has all its strength and refused to share the box office with it, Jiang Liu would rather not have the North American box office.

"Billy is Moroccan? I was thinking of going to Morocco in two days."

After the two parties sat down, Jiang Liu started making housework with a smile on his face.

The so-called building of film distribution channels is actually about finding reliable partners, so communication is very important.

In a friendly atmosphere, we introduced each other's family and growing environment, and Billy explained his purpose.

"Monster" is so popular that if you just browse through the Cannes program, you will see reviews about "Monster" in local French newspapers. He, a small film producer, cannot be in a hurry.

After frequent exchanges between Jiang Liu and Li Meijing, and several discussions, Billy temporarily obtained the distribution rights of "Monster" in Iceland, Denmark, Poland and other countries for 115 million euros.

While the two sides were discussing specific details, Ji Nan brought a group of domestic and foreign media reporters to interview Jiang Liu, Jiang Wen, Pei Douna, and Lu Yi.

On the second day of the 57th Cannes Film Festival, the creators of "Monster" spent their time busy at work.

On the third day, as agreed by He Jing and the organizing committee, "Monster" landed in Cannes' 300-seat auditorium for the second time.

In order to warmly welcome the arrival of "Monster", the 57th Cannes Organizing Committee specially laid a temporary red carpet for Jiang Liu and his party in front of the Cinema Palace.

Not only that,

Prior to this, this treatment was only available to world-renowned filmmakers and the creators of films participating in the Cannes Film Festival.

In previous Cannes Film Festivals, a film by an unknown little director who used the Cannes Film Festival to create limelight has never received such an honor.

After getting off the Cannes train, Jiang Liu nodded to Pei Douna, Lu Yi, and Jiang Wen: "Let's go."

The flashbulbs of domestic and foreign reporters were as bright as day, overshadowing the lights in the Cinema Palace. Jiang Liu and the others stepped onto the red carpet with smiles, waving and interacting with the fans. At the end of the red carpet, what greeted them was the 57th Cannes Film Festival. Quentin Tarantino, chairman of the festival jury, and Hong Kong director Tsui Hark, a member of the jury.

"Fuck, that's awesome. It's obviously not a participating film, but Cannes has to respect the creator of "Monster."

In the tourist area and media area outside the red carpet fence, some movie fans and media reporters sighed.

After a day of fermentation, Cannes media reporters gave "Monster" good reviews, which aroused the curiosity of movie fans.

In front of the Debussy Cinema, there was a long queue of moviegoers who wanted to watch "Monster" with their ID cards. All the faces had the same expression - anticipation.

But when the movie fans walked out of the Debussy Cinema, the expressions on their faces were extremely complicated, including sadness, joy, thinking, and admiration.

"Jiang, what's your English name?"

"No."

"Will you bring your work to Cannes again?"

"I don't know."

Jiang Liu smiled and let go of the old European lady's hands. He raised his head with a feeling and saw the extremely surprised Eva Green in the crowd.

(End of this chapter)