Chinese figure in Festival de Cannes

Cannes film festival was founded in 1964, now it has become the most significant and influential also one of the top film festivals among the world, The Cannes film festival is also known as the three major international film festivals in Europe with the Venice international film festival and the Berlin international film festival. Since its inception, the Cannes film festival has always adheredto its original intention of promoting the development of the film festival, revitalizing the world film industry and providing the world’s filmmakers with an international stage. In addition to persevere inthe original intention of the festival, the festival is also ready to accept new concepts. Over the past few decades, the festival has developed on the basis of maintaining its core values, focusing on discovering new talent in the film industry and creating a platform for the filmmakers to communicate and create.

 

贾樟柯

Whenever we talk about Cannes film festival, a Chinese film director will be mentioned many times and the director is Jia Zhangke. For Chinese audiences, we don’t need to worry about cast, don’t need to care about how much investment of this film, when we saw the name of Jia Zhangke appeared in the film, audiences know this film will be good. Over look at his works, almost every film can be thought of as classic or thought-provoking work. The film Still lifemade by him won the golden lion at the Venice film festival in 2006, after that the film A Touch Of Sin emergence in Cannes film festival and received positive comments only behind the Le bleu est une couleur chaude. Several years later, the film Mountains may depart participated in 86thCannes film festival and it was nominated for the 68th palme d ‘or at the Cannes film festival and was once among the top ten films in Chinese in 2015. To sum up the biggest features or characteristic of Jia Zhangke’s film in one word is documentary. His films are very documentary, focusing on the stories of the underclass and reflecting the changes of Chinese society and times. This kind of intense realism and humanistic attention is particularly valuable when Chinese filmmakers collectively surrender to Hollywood and sink into the ethereal commercial theme. Compared with the radical style of extreme criticism of reality, Jia Zhangke’s films are relatively quiet and low-key, in another words his films inclined into be calmness. He never makes pure moral judgment, whereas the films express through the documentary technique of one by one distinct personality. Comparing with the nihilism without a disease, Jia zhangke is not mysterious. He always keeps a warm tone in the cold reality, intentionally or unintentionally.

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Jia zhangke’s films have its unique perspective and think in its own perception regarding the significance of the world’s change. As he said: I want to use movies to care about ordinary people, first of all to respect secular life. In the slow flow of time, feeling the happiness or heaviness of every plain life.

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