Chapter 692 Should Not Be Forgotten or Misinterpreted (Asking for Monthly Votes)

Landing in Cannes, the air was slightly cool, and the flowers were blooming everywhere.

This was not the first time Hao Yun came to the Cannes Film Festival.

Although he only came on the 23rd, Guangxian Media had already arranged everything, and even arranged for someone to pick him up at the airport.

Hao Yun, Huang Bo, Yan Ni, and Wang Changtian from Guangxian Media, the other actors had too few roles, so they were not invited.

Wang Changtian invested a lot of money in this movie, and now he feels that everything is worth it.

Regardless of whether the box office can recover the cost, and whether the film festival can win awards, as long as it is shortlisted for the main competition unit, he thinks it is worth it.

Guangxian Media has locked its main opponents as industry veterans and newcomers such as Hua Yi and Bona, and has developed very fast, and in multiple lines.

But they lack works that can be shown off.

The main investment "Bullfight" was shortlisted for the main competition unit of the Cannes International Film Festival, and it can even be boasted that it was nominated for the Palme d'Or. This is the most glorious moment.

Along the way, Wang Changtian was chatting with Hao Yun.

I hope Hao Yun can create another award-winning blockbuster for Guangxian Media. If he can win the Palme d'Or, the Golden Bear, or the Golden Lion, they are willing to pay Hao Yun an additional personal reward of 10 million.

As for "Bullfighting", whether it wins this time or not, Hao Yun will be given a red envelope of 2 million. If he wins, he will be given more money depending on the situation.

Too damn rich.

Hao Yun kept being humble, you can despise my profession, but you can't insult my personality.

But the other party was too enthusiastic.

He thought about it and thought that the 2 million could buy a luxury car.

What man doesn't like cars?

He said he wanted to buy one during the Spring Festival, but later he didn't see a suitable one, and he didn't have much spare money, so now he finally wants to upgrade his shotguns.

After checking into the hotel, Hao Yun began to "attract bees and butterflies" everywhere.

His name is quite loud, and he brought his works here. Many people are happy to communicate with him and ask what new films he has made and what strange ideas he has.

That's right, everyone who has communicated with Hao Yun will be interested in his way of thinking.

Moreover, he can speak English, French and German well, so there is no language barrier in communication.

In the evening, he even attended a filmmaker's salon.

The initiator is Marco Bellocchio.

He is an Italian director, screenwriter and producer. His film "China is a Neighbor" won the 32nd Venice International Film Festival Jury Award.

Hao Yun was quite active in speaking at the film salon.

Talking to these foreigners about movies, Chinese movies and China.

In fact, many foreign filmmakers know about China through Chinese films and Chinese filmmakers.

If they meet someone who hates China, they will definitely see the unbearable side, and this side will be infinitely magnified, thus affecting these people's cultural attitudes.

This attitude will not be easily changed and gradually form prejudice.

Therefore, cultural lackeys are the most hateful.

Marco Bellocchio knows a lot about China, but his understanding is outdated.

Hao Yun was very objective - fanatics will be scrutinized, and objectivity is easier to convince - so that many people at the salon have a better understanding of China.

Many people even plan to watch the Olympics next year.

Hao Yun said that he could be responsible for the reception, and food, drink and entertainment would not be a problem, and he could also organize a filmmaker salon at that time.

Jiang Wen, Gu Changwei and others could participate.

Be generous when you should be generous, and your position in the industry is slowly established in this way.

The return rate is also very good. Many filmmakers came to the red carpet of "Bullfighting" the next day.

Anyone who has communicated with Hao Yun will basically come to show their support.

Even Japanese female director Naomi Kawase came.

Her entry is called "The Forest of Logs", and she is a director who likes to shoot forests and nature.

She is very interested in Hao Yun's "Little Forest".

Hao Yun invited her to attend the premiere of "Bullfighting" and did not hide it, but clearly stated that it was an anti-Japanese film.

Inviting Japanese people to watch an anti-Japanese war film is not a good or bad question, because movies are made for people to watch. If they are not shown to outsiders, it is just a self-entertainment.

Hao Yun walked the red carpet with Huang Bo, Yan Ni, and Wang Changtian.

Huang Bo was obviously a little nervous.

He even showed Hao Yun his acceptance speech, which was written for the Cannes Film Festival Best Actor.

Hao Yun thought he was overthinking it.

Before the movie started, the main creators would be interviewed.

Hao Yun served as a temporary translator. If there were any questions for Huang Bo and Yan Ni, Hao Yun would help translate them and explain them with his own understanding.

His demeanor and knowledge are admirable.

In fact, this is also a kind of elegance.

Elegance is not just like a gentle and amiable scholar.

Because of the subject matter, the media will definitely not miss asking Hao Yun, the screenwriter and director, some questions about Zheng Zhi. This is actually very sensitive, and it is easy to cause a big problem if it is not done well.

Fortunately, Hao Yun has filmed "The Sound of Wind" and "Bullfighting" and has consulted a lot of information for "The Head of the Group" and "Jinling", so he can be called an expert in this regard.

His answer was powerful and flawless.

When the movie was officially released, people realized that the man who was standing next to Hao Yun just now, who was dressed in a half-length but looked very ugly, actually had good acting skills.

Huang Bo's performance was indeed very contagious.

It's a pity that there is no dubbing at the film festival. Foreigners can only understand the lines through subtitles when watching movies.

However, the level of people who come to the film festival is not ordinary.

The plot and characters are very good, and the film language is also common, so there is almost no problem of not understanding.

Niu Er stood up from the ruins and looked at the uninhabited village around him. He fell into panic.

He didn't know where the people who were active in the village on weekdays had gone.

He looked everywhere and searched every house, but didn't find anyone.

Finally, he staggered to a big pit and saw a pile of charred corpses.

There was a sigh at the scene.

This kind of thing is not exaggerated. There were World War I and World War II, and there are still some now.

It's just the law of the jungle. No one can do anything with a big fist.

I just don't know, as China's national strength grows stronger, if they face each other again in the future, what will happen to the national destiny of Neon.

The Eastern Dragon will definitely not be a vegetarian when it wakes up from its sleep.

In fact, Hao Yun's purpose in coming to Cannes has been achieved. He wants to show the movie to filmmakers from all over the world.

What is cultural export? It's not to let more people know.

That's too difficult to operate.

The truly effective export is to let those who should know know.

As for the filmmakers who came to watch the movie today, as long as they are successfully exported, their works and the new generation influenced by them will gradually be exported.

The clip at the end of the movie seems plain, but many viewers were shocked.

Some people who are usually immune to poison even began to wipe their tears.

For a contract promise, he experienced all kinds of life and death.

Niu Er's tomb, Er Niu's tomb, the mountaintop with biting cold wind, the silent old cow, the wild Huang Bo, and a bunch of green seedlings.

I thought it was a grand war film, but I didn't expect it to be so long-lasting.

It is a comedy, but it is the kind of comedy that will gradually freeze on the face while laughing.

There is no shortage of applause.

Hao Yun, a Chinese director who once won the Cannes Best Screenplay Award, once again proved his strength.

"Why did you think of making such a movie?"

"Thank you for watching the movie. The main reason for making this movie is to let more people know that such a rough life and such a miserable situation, on the land where we grow up now, there have been thousands of people with the same blood as us who have endured with their lives. They should not be forgotten or misunderstood."

When Hao Yun was interviewed, his tone was very heavy.

"From the perspective of the film style, is there any inheritance with Jiang Wen's "Devils on the Doorstep"? "

"Everyone knows that Jiang Wen is my master. My favorite movie of his is not "Sunny Days", but "Devils on the Doorstep". This movie is my tribute to my master and my homework. The style of the movie is indeed similar to that of Jiang Wen, and the black and white tones add a sense of heaviness to the movie."

Hao Yun does not shy away from this argument. He is even happy to express it, which is in sharp contrast with Lu Yu.

After Lu Yu "lost" Jinling, he seems to have decided to make a war movie.

I don't know if he has taken any task.

Huang Bo was also asked a lot of questions.

Before the movie started, almost no one was interested in him, but after the movie was over, he answered many questions in succession.

Hao Yun was there to help him translate.

The next day, various media reported on "Bullfight".

Director Hao Yun's new film "Bullfight" visited Cannes.

It seems to be a happy ending, but it actually has a strong sense of sadness.

How to reflect on a war!

"Bullfight" is a perfect combination of form and content.

Black, irony, and humor seem to be synonymous with this film, because a cow is born and dies.

From "Bullfight" to see the maturity of this young Chinese director.

"To Live", "Devils on the Doorstep" and "Bullfight", the three Chinese directors' film expressions are different.

There are so many news that you can't even finish reading them. Compared with the first time Hao Yun came, the treatment is more than a little better.

Almost all the media that pay attention to Cannes reported it.

Hao Yun is very pleased that these film critics understand the movie, and he is also very happy that everyone gets what he wants to convey.

From the perspective of the intention, the movie can be said to be just right.

From the perspective of art, everyone generally believes that "Bullfighting" is a mature movie.

That's enough.

Of course, Hao Yun still wants to continue to expand the influence of "Bullfighting".

On the one hand, he contacted the film festival to add more screenings.

He would show more screenings as much as possible, because there would be no worries about no one watching.

On the other hand, he took Huang Bo and Yan Ni to participate in the premieres of other movies and various film events as the "Bullfighting" crew.

The three even accepted an interview with foreign media.

They talked more specifically about some issues of the movie.

Of course, there are also doubts, such as the Zheng Zhi factor in the selection of films in Cannes.

Hao Yun's film is not amazing, and it mainly stands out because of the Zheng Zhi factor.

Those who hold such views are naturally either stupid or bad.

How can there be stupid people in such an occasion? That's naturally bad.

Bad people are everywhere.

They don't necessarily think that Hao Yun's attitude towards Neon is problematic, but they are simply full of hostility towards China, a rising power.

Or maybe it's jealousy and guilty conscience.

Hao Yun often argued with the crowd at the Cannes Film Festival. Whether it was Zheng Zhi or the movie, he handled it well.

In the words of the local media, he already had the aura of a master.

Hao Yun watched a few days of movies.

His favorite was probably "No Country for Old Men" by the Coen brothers.

This is absolutely a genuine Coen brothers movie. The plot layout, atmosphere creation, black humor, and high-IQ suspense that the Coen brothers are good at are all vividly reflected in this new work.

Under the absurd story framework, it is actually a sad story close to human nature itself.

Hao Yun also officially came into contact with the Coen brothers.

While talking happily, I also got to know a lot of their attributes.

This Chinese director is quite eye-catching because he is so young.

Hao Yun has not yet turned 25.

When Hao Yun was this age, Ethan Coen and Joel Coen were probably still writing scripts for independent filmmakers.

In 1984, the two spent $800,000 and two months to shoot their debut film "Blood Simple". At that time, one of them was 27 and the other was 30 years old.

And that year, Hao Yun was two years old.

Of course, Hao Yun also met several actors from "No Country for Old Men".

He also got a lot of acting skills.

The villain Javier Bardem in "No Country for Old Men" is particularly impressive. His wife Penelope Cruz was the best actress in Cannes last year.

If Javier Bardem can win the best actor award, it will be a good story.

However, Javier Bardem is destined to be disappointed.

On May 27, the Cannes Film Festival closed and the awards ceremony came in the evening.

Although the Coen brothers' "No Country for Old Men" and Bela Tarr's "The Man from London" were favored by industry insiders, they did not win any awards.

Wang Jiawei's "Blueberry Nights" and Kim Ki-duk's new work "Breathing" also did not win any awards.

And Hao Yun's "Bullfight"...

"At the 60th Cannes International Film Festival, the Jury Award winner is "Growing Up in Iran" directed by Maga Satrapi and Vincent Palande..."

Under the spotlight, the two directors began to hug each other.

However, before everyone started to applaud, the award presenter rushed to add: "There is also "Bullfight" directed by Hao Yun, a Chinese director. Congratulations to the three directors above..."

Then came the jury's evaluation of the two films.

The jury's evaluation of "Bullfight" was "This film uses the joys and sorrows of a small person to show the development and changes of society at that time, so it is more real and reliable."

In other words, the Jury Award opened a double yolk egg.

Then Hao Yun was hit by one.

It was very unexpected, and not an ordinary surprise, because Hao Yun had never thought about winning the award.

Having Zheng Zhi elements does not mean it is a plus point.

The key is to see whether this "Zheng Zhi element" conforms to the mainstream Western thinking, and it must be correct within the scope of other people's rules.

Obviously, China's anti-Japanese war is not so compatible.

However, if we consider that "Devils on the Doorstep" can win the Grand Jury Prize at the 53rd Cannes International Film Festival, it is not too strange that Hao Yun's "Bullfight" won an award several laps smaller than the Grand Jury Prize.

After hearing his name, Hao Yun shook hands with the people around him.

It's a pity that An Xiaoxi was not brought...

If I had known that I could win the award, I would have brought her here. Then I could be more excited and do whatever I want. Everyone can understand it very well.

On the stage, Hao Yun hugged and greeted the award presenter, as well as Maga Satrapi and Vincent Palande who shared the "Jury Prize" with him.

Vincent Palande is French, and Hao Yun doesn't know much about him.

Maga Satrapi is an Iranian comic writer and illustrator. "Growing Up in Iran" is her autobiographical illustrated comic work.

The three received the trophy and gave their acceptance speeches respectively.

Hao Yun did not say anything radical on stage, and this was not a one-time deal.

As a director, if he appears too "uncalm", it will not be conducive to the audience to view the work with a normal mind.

He hopes to bring more similar works to play in the future.