On November 26, the "Humanistic Care and Warm Reality – Symposium on the Creation of Realistic Films" was held at the China Film Archive.

The symposium featured a combination of keynote speeches and round table discussions, divided into four units: "Emotions of the Times and Cultural Truths," "Leftist Traditions and Contemporary Innovations," "Understanding the Individual and Conveying Warmth," and "Nurturing Audiences and Expanding Markets." Guests exchanged in-depth dialogue on mainstream values, aesthetic exploration, innovative development, and market prospects within the realm of realistic film creation.

Group photo of participants

Building a Bridge Between "This Is the Way It Is" and "This Is How It Should Be"

Professor Yin Hong from Tsinghua University emphasized two core issues of realism in his speech. "First, there is the people-centered creative stance. Within a political system where the people are the masters, we need to rethink what it means to have a 'people's stance.' How we express the changes and transformations happening in society is a matter of creative stance, or rather, a matter of creative attitude."

"Secondly, the means of creation encompass typical details, typical environments, typical characters, and typical emotions." Yin Hong believes that the so-called typical emotions are what many have recently discussed regarding social emotional values. "We see that in the popular works of recent years, not a single one has been reshaped according to past trends; instead, they have all captured the latest social emotional trends grounded in local Chinese context."

"Today, we have even more reason to combine a life that 'is this way' with a life that 'should be this way,' to express what 'should be the case.' Filmmakers must sincerely build a bridge, rather than just stick on a bright title or artificially create a positive label, thinking that this alone could solve all warmth-related issues. Instead, we should work through sincere and thoughtful creative logic to help make life and the future better." Yin Hong stated.

Still from "The Twentieth Clause"

Professor Wu Guanping from the Beijing Film Academy took the film "The Twentieth Clause" as an example to introduce the concepts of "implication" and "after-meaning" in realistic cinema. "If we look at the realistic films of the 1930s, their implication was to evoke the people's emotions regarding national salvation. The 'seventeen years' of film after the founding of the People's Republic of China had the revolutionary and labor themes as their implications. In the current context, if the creation of realistic films only considers the implication, it becomes a dry and rigid kind of realism. Many theme-driven realistic films have failed to create a vivid artistic impact because they only value implications. As for the so-called 'after-meaning,' it conveys what the audience associates with their daily lives after engaging with the realism of characters and narratives."

"The implication in 'The Twentieth Clause' is the logical relationship between emotion and law. Its after-meaning is the imagination generated in the audience when they see Hao Xiuping (played by Zhao Liying) reunited with her family in the hospital at the film's end. If this doesn't happen, then where is the warmth? If it does happen, then how does warmth manifest? I think this is a very important aspect of discussing the expression of realistic films; it relates to the emotional experiences encountered in the everyday lives of each viewer. In other words, the sense of warmth in realism lies in how much after-meaning the work provides and the faith and dignity the audience derives concerning their own real lives." Wu Guanping remarked.

Professor Li Daoxin from Peking University and researcher Li Zhen from the China Film Art Research Center both spoke on the evolution of leftist film traditions and their impact on contemporary realistic film creation.

"Creators should be close to the people; the methodology proposed by leftist cinema remains applicable today. Why was 'Crossroads' successful? A notable critique stated, 'The deep understandings correspond to the deep, while the shallow understandings match the shallow.' Besides the progressive ideas of this film, its lack of preachiness is crucial. During the leftist movement, many works did not limit themselves to studio construction; creators stepped onto streets, into restaurants, and barbershops, engaging with real-life environments, using cinematic language to deeply intersect with society and showcase the textures of the lives of the marginalized. Today's filmmakers share a common characteristic with the creators of the leftist film movement 90 years ago: a concern for society and humanity. They do not distance themselves from their works but truly connect with people, projecting themselves through characters and living within their creations with heartfelt sincerity." Li Zhen expressed.

Still from "The Resolution to Leave"

"In Chinese culture, emotion is inherently tied to truth and morality. Within Confucian thought, the concept of 'emotion' serves as the starting point for morality. When we say a film is real, we often mean its emotional resonance can touch people." Using "The Resolution to Leave" as an example, Li Zhen pointed out that the audience is exposed to the rare life experiences of an elderly mother, "If one only notices the ending where the old mother chooses to leave, it may seem abrupt. However, after watching the film in its entirety, under the creator's warm perspective, one can fully comprehend her choice, thus empathizing."

"Humanism is an ideal, while warmth is a feeling. Why do films like 'We Shake the Sun Together,' 'The Resolution to Leave,' 'Good Stuff,' and 'A Hopeful Day Again' attract attention? A critical factor is that they capture the complex relationships regarding body, gender, class, and other aspects in this age of technology, the internet, and artificial intelligence. Today's audiences and creators are no longer satisfied with singular transparent narratives and simplified emotional expressions. Faced with the complexity, multidimensionality, and even the hybridity of reality, creators and critics must embark on a new journey." Li Daoxin stated.

“Humor and warmth are essential in contemporary realistic cinema.”

In addition to various esteemed scholars offering their insights, directors Shao Yihui of "Good Stuff," Yin Ruoxin of "Wild Child," Liu Jiangjiang of "Life Matters," Yin Lichuan of "The Resolution to Leave," and Liu Taifeng of "Another Hopeful Day" attended and spoke at the symposium, alongside Zhang Miao, general manager of Beijing Wonderful Time Cultural Media Co., Ltd., and Ren Ning, general manager of Shanghai Sanic Dimension Film Co., Ltd.

Director Shao Yihui of "Good Stuff"

With a Douban score of 9.1, "Good Stuff" made over 200 million at the box office within just a week of its release, marking it as a rare domestic film that has achieved both critical acclaim and box-office success in recent months. This made screenwriter and director Shao Yihui the center of attention upon arriving at the venue. She believes that "humanistic care and warm reality" encapsulate the essence of the kind of realist films needed today. "Humanistic care should be people-centered and genuinely recognize the value and dignity of each individual. At the same time, every real person is also full of flaws, contradictions, and even undeniable shortcomings, so we, as creators, must sincerely face the real world."

Still from "Good Stuff"

Shao Yihui believes that her films "Myth of Love" and "Good Stuff" both have a degree of realistic quality, but they also reflect an ideal world from her perspective. "Whether it’s the characters in the film or their relationships, including the emotions and values conveyed, they are fairly idealistic. I also noticed some critiques mentioned that the characters in the film feel relatively detached or abstract, which I think has some merit. I have my own confusion about how to create a film that has strong realistic qualities while still connecting closely with contemporary audiences. It seems there are aspects that feel detached, yet the audience can feel a genuine warmth—that's a challenge I have been pondering, but I haven't found the answer yet."

Creating her own scripts and directing them has allowed Shao Yihui to maintain a strong authorial voice while also achieving considerable market success. She reflected on the struggles during the development of her two films. "Myth of Love came to fruition through the FIRST Film Pitching Conference. At that time, there were very few urban romance projects among the film pitches, and after I presented my project, many producers expressed great interest."

"However, after I circulated the story outline, most feedback I received was negative. Even after expressing appreciation, some asked me to significantly revise the script, which I was certainly unwilling to do. Only Mai Te Films consistently showed a desire to collaborate positively without suggesting any modifications to the screenplay. Later, when 'Myth of Love' was released, several investors came back to me saying they should have supported the project earlier."

Still from "Myth of Love"

"Thus, whether a work can ultimately be produced truly depends on the perseverance of the creator and finding like-minded collaborators. After completing the script for 'Good Stuff,' I spent a long time undecided about the title; several investors particularly wanted me to call it 'Myth of Love 2,' reasoning it might be more marketable. But I didn't see 'Myth of Love' as an IP, and 'Good Stuff' is a new story that doesn’t carry over the previous characters or storyline. I didn’t want to tarnish my reputation; a new story should have a new name." Shao Yihui noted.

In response, Zhang Miao highlighted the importance of reaching an agreement between creators and producers. "Only then can both sides support and understand each other’s principles. It’s crucial to transform individual commitments into a shared commitment; otherwise, if each side adheres solely to their own stance, problems are sure to arise. It's akin to a marriage." After the new millennium, Zhang Miao had worked at Columbia International Pictures/Sony International Pictures as a senior director in China for many years. In the last decade, he shifted to domestic film companies, serving as co-producer and head distributor for acclaimed films like "Wolf Warrior 2," "Hello, Li Huanying," and "Dying to Survive."

Zhang Miao shared that he has been involved in the production and promotion of Chinese films for the past decade. "I have a belief that civilization converges, but culture always seeks divergence. In recent years, those domestic realist films that have made it abroad share a common trait; they embody a clash between traditional Chinese culture or subcultural elements and contemporary mainstream values."

"Currently, Chinese cinema may still lag behind Hollywood's major productions in expressing industrial-level filmmaking, but in terms of realistic themes, Chinese cinema is commendable. I recall many years ago the film 'The Pursuit of Happyness,' produced by Columbia Pictures; when we introduced it domestically, we faced significant promotional challenges. Yet, today’s excellent domestic realist films significantly surpass their American counterparts from the same era in various aspects."

Poster for "If I Were The One Who Loved You Most in This World"

Using the summer release "If I Were The One Who Loved You Most in This World" as an example, Zhang Miao explained, "When Director Liu Fendou approached me, he had already faced rejections from many investors. My suggestion to him was whether he could frame this story about disabled individuals in a manner reminiscent of the golden age of Hollywood, or those mid-budget, warm, and realistic films produced by Disney 20 years ago, minimizing a sense of suffering. In recent