It’s not far from the backstage of the red carpet to other areas of the film festival. In fact, you can just walk. However, as the face of the country, the diplomats are very dignified.
This film exhibition has a total of seven special topics including "Japanese Films Yesterday and Today", "Chinese Film Week", and "Young Directors Film Week". The first thing to browse is naturally "Japanese Films Yesterday and Today".
The Japanese staff, maybe agents or the like, saw people getting out of the Chinese vehicles one by one, and both sides were protecting the safety of their leaders.
Until they saw Fang Yi.
"wow~"
These Japanese people couldn't help but exhale, and then looked at each other and chuckled - who could not be surprised.
The director introduced: "This is our country's famous young actor, Fang Yi. This time a new film was released in your country. I saw his fans gathering outside the venue."
It just so happened that the crew of "Love Is Afterlife" may have caused the commotion. Fans outside the venue were calling Fang Yi's name in Chinese - Japanese and Korean fans give up on celebrities easily, but they are also quite crazy when chasing them, and they don't care about the outside world at all.
Opinion.
The Japanese personnel present had different expressions. After shaking hands with Fang Yi and coming into close contact with him, they all showed expressions of helplessness and conviction.
The Japanese side whispered, "Is he really an actor from China? But I only know Jackie."
"With such an appearance, he can't be a young actor, right? If he were in Johnny & Associates, he would be known all over the country in two or three months... Oh my God, his eyes are so big, is he worthy of being called China?"
"Perhaps they are actors trained by the national system. It is normal for a person to be selected by 1.4 billion people and be better than us."
"Is that so? Is this the winner of a national beauty pageant?"
Most diplomats stationed in Japan understand Japanese and laugh secretly in their hearts, but they don't show it on their faces like the Japanese.
Finally, Prime Minister Hatoyama arrived at the scene.
He took the initiative to reach out to the Chinese side and noticed Fang Yi involuntarily. After a brief conversation with the director, he skipped the others and said directly to Fang Yi:
"He must be a famous actor in China."
"Yes."
"You are so young. Are you an idol artist now?"
"Movie actor."
"Eh? Is that so?" Hatoyama said hesitantly, and he pushed out a young man next to him, who was pretty handsome.
"I thought you were an idol artist like Miura Haruma."
The young man immediately said to Fang Yi: "I am also a movie actor."
Sure enough, whether in China, Japan, Korea, or Europe and the United States, idol is not a good word.
Miura Haruma has starred in the movie "Love in the Sky" which is well-known to Chinese people. The female lead Yui Aragaki is more familiar to Chinese people and is the void wife of many people.
With the help of simultaneous interpreters, the two parties communicated stumblingly, and even Fang Yi talked about the movie with the Japanese male idol for a while.
After Miura introduced the plot of the movie to Fang Yi, he repeatedly said "Si Guichi". This guy is also a lover of literary films - most actors have artistic dreams and want to improve their acting skills after making money.
Fang Yi has the best of both worlds. Miura is naturally quite envious.
The history of Japanese films is quite glorious. World-renowned directors such as Akira Kurosawa and Takeshi Kitano have been produced successively, especially Takeshi Kitano, whose works include "Seven Samurai", "Rashomon" and so on.
It’s not unusual to see, but it was a genius idea at that time.
In 1972, after his previous film flopped, Kurosawa was invited by the Soviet Union to shoot the Russian-language film "Dersu Uzala" regardless of cost. Once it came out, it won the Moscow International Film Festival Grand Prix and the Oscar.
Best Foreign Language Film Award. Full of prestige points in both camps of the Cold War,
For many ancient Chinese entertainment stories, the Oscars are the finale.
During the same period, due to various reasons, the country was not able to seize the right to interpret various film techniques in the cultural world - in fact, most of Kurosawa's so-called pioneering techniques absorbed his local shooting techniques, and some of these techniques were borrowed from
The magic city movies of the 1930s.
This session is not so much "Japanese cinema yesterday and today" as it is just remembering "yesterday".
China proposed to participate in the "Young Directors Film Week", and young directors from China shone brightly. There were three films in total, while in Japan, this number was zero.
idiot!
How can a young person become a director?
Hatoyama was not interested in movies he didn't know. He stayed politely for a while and suddenly asked Fang Yi: "What is the name of the movie you are showing here?"
""Love has an afterlife"."
"A good name. All beautiful feelings are entrusted to the next life to be realized. This is in line with the aesthetics of our Oriental people. I want to watch your movie, is that okay?"
Of course Fang Yi couldn't say no.
There was no chance of losing control of the film show. A movie hall was temporarily set aside for the two big guys, and the people in the first five rows were kicked out, and "Love Is After Life" that had been playing for a while was replayed.
Because the one being exhibited was Yu Feihong's version, which is the so-called multi-line narrative version, movie fans were not angry, because many people didn't understand it before and relied on the appearance of the male and female protagonists to watch it.
Soon, Hatoyama couldn't understand anymore. Although he tried his best to maintain an appearance that he could appreciate my artistic sentiment, he still slowly talked to the director and communicated in a low voice.
This is exactly what the director wants. He can't stand it either.
Don’t think that just because the big guys play big chess every day, they love to watch art films - art films are really a very niche genre.
Taizu didn't like to watch literary movies. His favorite movie was "Fist of Fury". Yes, it was Bruce Lee's "Fist of Fury".
Later generations recalled that Taizu watched this film at least twice. One of the times he saw Bruce Lee kicking the "Sick Man of East Asia" plaque to pieces in the film, he clapped and laughed happily: "Bruce Lee is such a hero!"
The movie ended with Monk Fang appearing on the stage, and when he got a glimpse, a familiar sigh rang out in the theater. Then he couldn't help but applaud, including the big bosses from China and Japan.
They kept looking at Fang Yi's face on the screen and in real life, and even stopped talking about state affairs for half a minute.
Fang Yi has heard applause many times, but this time is the most special.
After the film was shown, everyone felt that it was different from the previous films in the exhibition, but after thinking about it carefully, they couldn't tell what the difference was. It was just that it was instinctively different from the Chinese films they imagined.
What they expect is a film plot unique to China's rural agricultural society, which they can look at with pity and even curiosity. This is a real aesthetic, and it is an aesthetic imposed on us.
The end of the film implies that different ethnic groups in the new era no longer have hatred, but are united together. This makes foreign movie fans not used to it.
At the end of Guoshi's film "No One Left Behind", because there is a scene of the national flag being raised and the national anthem being sung, which has obvious connotations of blessing and hope, it was considered to be flattering to politics, so it was rejected by Cannes.
Lao Mouzi was so angry that he wrote a long article to the chairman of the jury, Jill Jacobs, and removed two films, "No One Less" and "My Father and My Mother," from Cannes, announcing his "break" with Cannes. This has not happened to this day.
He has never stood for election again.
You know, the National Master is a direct descendant of Cannes. When he comes to Cannes, he is transported by a special car and treated as an international director.
Hatoyama has a purpose in engaging in film diplomacy. Naturally, he will not criticize Fang Yi’s values, but he still said:
"This is different from the films I've seen before."
"Yes, it is indeed different."
The director also sighed and said meaningfully, "It's different."
After Hatoyama left, this small temporary team would naturally be disbanded. Director Fang Yi said: "As you can see, since he wants to award the award, it is impossible to award it to someone else. You should prepare your acceptance speech...
I have been in Japan for a long time and have never seen young people being sought after. I hope you can continue your efforts."
－－－－－－Digression－－－－－
Thanks to Granny Na on the roadside for the tip; Thanks to lxgpc for the tip; Thanks to the book friend Sister Qian for the tip of the beautiful knight. Thanks to the book friend Xuan Xixi for the tip, thanks to the book friend whose knees are weak, thanks to the book friend