On August 29, the 6th China Film New Power Forum was held in Changchun, Jilin.

Forum Poster

Mao Yu, executive deputy director of the Central Propaganda Film Bureau, said in his speech that the "new force of Chinese film" has gone through a course of nearly 10 years, during which a large number of directors and screenwriters have emerged, bringing new forms, genres and discourse styles of films. The reform has brought about a new attempt in the film investment and financing model, and brought new possibilities for media integration and cross-border talents. It has become the glory and dream of the prosperity and development of Chinese films, and has accumulated valuable resources for the future of Chinese films. At present, the burden of building a powerful film country in 2035 and the mission of building a modern civilization of the Chinese nation have historically fallen on the shoulders of the younger generation of filmmakers. It is hoped that young creators will step out of ego, embrace the times, and tell Chinese stories well; have audiences in mind, be grateful to audiences, and enhance the film's ability to resonate; be based in China, look at the world, and grow and grow in the open; pool their brains, form synergy, and strengthen the foundation of the film industry .

It is reported that the forum is sponsored by the National Film Administration, organized by the China Film Art Research Center, and co-organized by the Propaganda Department of the Jilin Provincial Committee of the Communist Party of China (Jilin Provincial Film Bureau) and the China Changchun Film Festival Organizing Committee.

Forum site

The theme of the forum is "New Era, New Journey, New Power - Movies and Audiences Together". Wang Baoqiang, Liu Xiaoshi, Cui Rui, Shao Yihui, Su Liang, Olympic bid, Liu Xunzimo, Zhang Chiyu, Dai Mo, Desert, Zhao Ji, Xie Junwei, Zou Jing, Yan Kai and other new-generation directors, Zhang Ke, Su Biao and other new-generation screenwriters , representatives of producers such as Chen Zhixi, Gong Ge, Wang Yilin, representatives of film companies such as Xu Jian, Li Jie, Zheng Zhihao, Ling Luwei, Dai Linyan, Zhang Bo, Zeng Jiyuan, etc., representatives of venture capital platforms such as Xie Jin, Kang Li, Wang Ye, and Li Ziwei In the forum, they expounded their respective growth experiences and film concepts.

Representatives of the new generation of screenwriters and directors believe that filmmakers have a unique mission different from other industries. Creators should focus their creative perspective on people’s daily life, show the most real people, the most vivid emotions, and touch the hearts of the audience; The change of individual destiny is placed in the background of the times, showing the spirit and style endowed by the times; it should tell Chinese stories well, show Chinese characteristics, and integrate Chinese culture into the works; Bold breakthroughs in design, style and form.

Producer representatives said that in the creation process, we must adhere to the harmonious resonance of mainstream values and market feedback, understand the values carried by works and content, identify and screen out the shining points of truth, goodness and beauty in film works, understand the needs of audiences, and accurately find films. target audience, to achieve two-way travel and emotional resonance between the film and the audience.

In the summer of 2023, "breaking the record" has become a key word in the film industry throughout the year, injecting a shot in the arm for the film market. Up to now, the box office of 2 films "The Missing Her" and "Desperate for All" has exceeded 3 billion yuan. This is also the first time in film history that there are 2 films with a box office of more than 3 billion yuan in the summer file.

Cui Rui, director of "She Who Disappeared"

Cui Rui, a director born in the 90s, said in his speech that when making "The Missing Her", the primary concern was what topic the film was discussing and what kind of values he hoped to convey through this film. "Through our fabricated, exaggerated, and extreme stories, we finally want to convey some positive energy to the audience: care about the other half around you, don't be superficial, don't be negligent in communication, etc. Filmmakers have different characteristics from other industries. The special mission of a worker, every film, you have the opportunity to speak out for a group of people, because of their own circumstances and constraints, marginal or low status, they can't spread their feelings, filmmakers have the responsibility to speak for them Speak up. The audience sees it, and the experiences and feelings of this group will be magnified, which will trigger more people to reflect and introspect.”

The director of "All or Nothing" bids for the Olympic Games

The post-80s director bid for the Olympic Games said that in the early stage of the creation of "All or Nothing", except for the producer Ning Hao, everyone did not realize that this is a film with a wide audience and social influence, including himself. "Nowadays, the film has achieved unexpected box office results. I know that this is the result of many factors other than the film itself. The social emotions and topic discussions caused by this are verifying my creative point of view: the film should reflect the Real life, with social value, grasp the pulse of the times, listen to the voice of the times, keep pace with the times, and be people-centered."

At the same time, the bid for the Olympic Games believes that the standards for everyone's review of movies are becoming more and more narrow and single. "For example, the success of the box office is a kind of great success, which is very troublesome to me. There are still many dimensions worth exploring in movies, from the movie itself, from the social value, etc., there are very rich dimensions. I hope that the movie People can gather a force to broaden this dimension, so that all our audiences, movie fans, film critics, and all film practitioners can work together to enrich the standards for evaluating movies."

Dai Linyan, CMO of Alibaba Pictures

The historical animated film "Thirty Thousand Miles of Chang'an" is undoubtedly also the "hot item" of this summer file. In her speech, Dai Linyan, CMO of Ali Pictures, said that the "annual must-go romantic appointment" and "summer compulsory inheritance course" formulated at the beginning of project planning accurately reached parent-child family users and those over 25 years old. Even young and middle-aged cultural figures aged 35-39 finally helped the film gain a total audience of 43 million at the box office. "The proportion of "Three Thousand Miles in Chang'an" that was watched in groups of three or more people reached 18.9%, and most of them were family users who took their children to experience traditional culture."

Since 2019, screenwriter Zhang Ke has successively participated in the script creation work of the films "My Motherland and Me", "King Kong River", "Revolutionary", "Volunteer Army: Heroic Soldier Attack", because most of these works involve party history, national history, and military history Many people thought he was an "old man". In this appearance, Zhang Ke said with a smile that he is not yet 40 years old, "My creative experience is two: Ming history and integrity, lean and innovative."

Screenwriter Zhang Ke

In Zhang Ke's view, literary and artistic creation is not water without a source. "Especially the modern Chinese history since 1840. When you are familiar with this period of history, you will find that there is an inevitability in the history. This inevitability interprets the past, confirms the present, and heralds the future. Really do it' History of the Ming Dynasty' will generate a high degree of creative confidence, generate artistic fiction and expression on the basis of rationality, and achieve a combination of romanticism and realism." He also used Li Xuejian's lines in the movie "Born Out of the Sky" as "straight Waist, build an atomic bomb" as an example, "When this movie was played again at station B, all the bullet screens were 'build a lithography machine, straighten your waist.' A line can travel through history. Until today, From the masses to the masses, this is what I want to strive for and learn from.”

"Love Myth" director Shao Yihui

"Mythology of Love", which will be released at the end of 2021, outlines an urban style painting with Shanghai dialect dialogue and joyful brushstrokes. It is also a rare masterpiece reflecting the lives of Shanghai citizens in recent years. The film's screenwriter and director Shao Yihui said with a smile that the current living conditions of young domestic screenwriters "often do not get the respect of investors", and he was forced to become a director. "My ideal movie should not be flattering. Whether it is downward kitsch or upward kitsch, flattery means no attitude, no expression, just an empty shell crawling on the ground. The crawling gesture may temporarily win Favorable, but will soon be backlashed."

"My ideal movie should be to express true feelings in an illusory world. Movies are not responsible for creating reality, only need to create the feeling of reality. The story is the restoration of physical reality, but not physical reality, the film looks 'real' It is the truth that has been carefully processed and logically arranged. Things that happen in the real world are often illogical, or the logic is difficult to weave into two hours. But emotions should be real, and only the real can move people." Shao Yihui said.

Fu Ruoqing, Ning Hao, Yu Dong, Guo Fan, Han Yan, Chen Sicheng, Dong Chengpeng, Wang Changtian, Lu Yang, Wu Ershan, Wang Yibing, Zhang Miao, Wang Hongwei, Rao Xiaozhi, Yin Hong, Huangfu Yichuan and other senior practitioners also combined their own The discussion and exchange of creative and working experience with new film forces reflects the fine tradition of Chinese filmmakers passing on from generation to generation.

According to representatives of film production companies, in recent years, domestic film production has achieved overall iterations, and the Chinese visual effects team has fully controlled the creation and production of China's "visual effects blockbusters". Visual effects practitioners should seize the opportunity of the rapid development of AIGC (Generative Artificial Intelligence) and work hard to achieve the goal of becoming a film power. The representative of the film venture capital platform said that only by the continuous emergence of new creators and good works, attracting more audiences to the theater, and the market feeding back the creation, can a virtuous circle of the industry be formed. It is expected that the new generation of creators will align their creative ideas with the mainstream market Deviations, creating vivid characters that can stand the test of time in fresh ideas.

During the discussion, the forum guests agreed that: for Chinese films, strong new forces will lead to strong films; strong new forces will make the film industry have a bright future and full of hope. We look forward to the new Chinese film forces forging ahead with determination and forging ahead, and making greater contributions in the new journey of building a powerful film country.