Review of the participating films at the Melbourne International Film Festival

Here are my three favorite movies at this Melbourne International Film Festival:

1.The Square

The film is a self-deprecating act of the intellectuals, but after watching it, the film has in turn ridiculed us. “The Square” is about a divorced father who works as a curator in a modern art museum with excellent working abilities. In addition, he is a humanitarian defender and a pioneer in environmental protection. He curated an exhibition called “The Square”, hoping to awaken visitors to the next generation. However, in the process, he found that he could not really accept the idea of ​​his own propaganda, and the existence of the self felt a huge challenge. The film reveals the hidden dilemmas and traps under the mainstream “political correct view”. It is a mirror of the middle class and full of irony.

The film won the Palme d’Or at the 70th Cannes Film Festival.


2.Claire’s Camera

Maybe another literary love movie “Before Sunrise”?

The film is a new work by the famous Korean director Hong Shangxiu. His “Claire’s Camera” and his other film are all shortlisted for this year’s Cannes Film Festival. This is rare. After the film, Kim Min He played an employee who was dismissed from the cafe because of his straight personality. He met Claire who likes photography in Cannes. Claire has the mysterious power to perceive the past and the future, and she can use her camera to change a person’s destiny. The style of the movie is like a delicate piece of life, the picture is delicate and beautiful. The summer is hot, the blue coast breeze light Buddha, the white sand beach and the literary coffee shop, the feelings of the triangle men and women are talking slowly and slowly. A more interesting aspect may be that in the real world outside the movie, the actress talked to the big director about a relationship.


3.Loving Vincent

A slow-working, epic animated cartoon.

“Loving Vincent” is a film produced by the famous British film studio BreakThru Films (which won an Oscar) and Trademark Films started in 2012. In these 80 minutes, it contains more than 100 painters’ five-year creations, and restored more than 100 Van Gogh works, which were superimposed with 62,450 hand-painted oil paintings and displayed at a rate of 12 frames per second. It presents an exciting effect for the audience. Even many people who have seen this film can’t help but burst into tears. The narrative of the documentary and the monologue mode can be called a tearful work, an emotional crit. Van Gogh’s lonely and crazy artist soul is naked in front of us.

What is the impact of the film festival on the film industry? – based on the China Film Festival

Compared with the national film industry’s attention to international film festivals such as Cannes and Venice, the awards of the China Film Festival have dimmed a lot. The world-class film festivals have a very long and professional tradition of awards. Each year, the world’s top filmmakers are gathered, and outstanding works are selected among many participating films in strict accordance with the standards and spirit of each film festival. Such awards are highly credible and will undoubtedly have a major impact on the announcement and trading of award-winning films, and are also highly attractive to filmmakers. There is usually no such serious evaluation in Chinese domestic film festivals.


No market-oriented operation: Basically, China’s film festivals are subject to approval by the State Administration of Radio, Film and Television for further applications. Although there is no explicit stipulation that individual units cannot apply for a film festival, most of the approvals will be issued to organizations affiliated with state-owned enterprises or institutions. In this context, there is no market-oriented operation. Without market competition, it is difficult to have characteristics and vitality. The film festival has become an indicator cultural event. Whether the Chinese film festival can have a more active and practical effect on the Chinese film industry is a question worth exploring.

The most qualified of the Chinese Film Festival is the Changchun Film Festival and the Golden Rooster and Hundred Flowers Film Festival, both of which began in 1992. Until today, these two film festivals are still regarded as the two most influential film festivals in mainland China. However, they are limited to domestic works. Apart from the best foreign language film awards at the Changchun Film Festival, there is no international element. It is purely the Chinese own film festival.


The influence of the Chinese local film festival is reduced. What about the international film festival? So far, the most influential international film festivals in China are the Shanghai International Film Festival and the Beijing International Film Festival. Among them, Shanghai International Film Festival is the only Class A film festival in China. The first three sessions of the Beijing International Film Festival did not have any awards, only the screenings, but in 2014, the competition unit was officially established, and the award was awarded to the Tiantan Award. Since then, it has also sought to apply for the A-level film festival. But most of the content and participants of the so-called International Film Festival are still from the domestic film industry.

Take the media as an example. There are 4,000-5,000 journalists who travel to Cannes and Venice every year, half of them are overseas reporters, and there are only dozens of foreign media in China’s international film festival. China’s international film festival is still in the process of pleading for it, and it can only rely on the popularity of domestic stars to gain some attention.

Impact on the film industry:

The first is the impact on the local film industry. The birth of the film festival was first given the expectation of promoting and stimulating the local film industry in each host country. The film festival’s affirmation of local films and the attention and communication opportunities brought to the venue are the driving force behind the development of the local film industry.

Second is the promotion of world film culture exchange and trade. The emergence of more and more international film festivals indicates that the film industry has an increasing demand for exchanges between countries on a global scale. During the exhibition, you can see international films that are not normally seen in the local area. Through this kind of cultural intercommunication, you can deepen your understanding of the development status of the film industry in various countries.

In addition to the exchange of information, the festival has a real trading market, which provides a very good platform for filmmakers. Here, they can get to know more people in the industry, and find opportunities for overseas distribution for their work, creating other profit channels in addition to local box office.

The charm of the Melbourne International Film Festival

The Melbourne International Film Festival is Australia’s first international film festival and one of the most influential international film festivals in the Southern Hemisphere. It was founded in 1952. The importance of the festival is not only the economic impact it brings, but also the collection of outstanding film and film producers to spread and promote the development of the film industry. In addition, in the 21st century, the film festival is more profound and can even represent politics and culture.


The Melbourne International Film Festival is one of the most popular events in Melbourne and one of the four major film festivals in the country.

The main purpose of the festival is to understand the film situation in countries around the world, to promote close cooperation between Australian filmmakers and foreign filmmakers, and to contribute to the development of the national film industry. Every year, the Melbourne Film Festival screens a wide variety of films to celebrate the film’s illustrious achievements and recognize filmmakers who have made artistic contributions to all areas of the film industry. About 300 films will be shown during the festival and showcase the latest developments in the Australian and international film industry, featuring a variety of films, including feature films, short films, documentaries, comics, experimental films and multimedia films.


I watched a Korean suspense movie Burning. The film was adapted from Murakami Haruki’s short story “Burning House”. What it tells is that in the process of a delivery, the young postman Zhong Xiu occasionally met his childhood friend Huimei. Before traveling to Africa, Huimei asked Zhong Xiu to take care of her cat. After she traveled back, she introduced to Zhong Xiu a mysterious man she met on the road, ‘Ben’. The man who lives at the bottom meets the same female lord, and gradually likes her. However, the appearance of ‘Ben’ has changed the plot. Unwilling to be ordinary Huimei wants to live in a high society like ‘Ben’, but the role of ‘Ben’ is morbid, living conditions are good, appearance is good, always smiles, but the heart is dark and depressed .

The people who live at the bottom show their helplessness and low presence in this film, and no one cares. The film also truly portrays the true feelings of modern people living in repression. Compared to the original story of Haruki Murakami, this movie brought me a different experience.

After the movie, viewers from various countries discussed the story in the movie, for example, why the character has a series of reactions, and what happens if the case occurs in their country. In general, it can be seen as a cultural influence. Viewers can experience different cultures by watching movies and try to understand the way people think about it. This is the charm of the festival.

Beijing International Film Festival —— the image of the national film


The 8th Beijing International Film Festival was held at the Yanqi Lake International Convention and Exhibition Center in Beijing from April 15 to 22, 2018. Its main competition unit includes the “Tiantan Award” selection, opening ceremony, Beijing exhibition, Beijing planning theme forum, film market, film carnival, closing ceremony and awards ceremony. At the same time, it also includes more than 300 activities such as “Looking to the Future” unit, recording unit, online film unit, film concert, movie salon, and new film release. My favorite is the ‘Outlook for the Future’ unit, which includes new films from more than a dozen countries including Iran, Estonia and Japan. And basically after each show, the audience has the opportunity to communicate with the main creative. Most of these films have brought surprises to people.


The Beijing International Film Festival is a very young film festival. In fact, the film festivals throughout Asia have started very late. The Hong Kong Film Festival was founded in 1977, the Tokyo Film Festival was founded in 1985, and Shanghai and Busan began to hold film festivals in the 1990s. The Beijing International Film Festival was held in 2011. For such a film festival in the initial stage, it is unrealistic to demand huge influence. What it needs more is perfect organization and coordination work, more commercial cooperation achievements and popularization of film culture. From this point of view, it is still very promising. Online ticketing has brought it into the public’s field of vision and brought a large number of customers; it has gathered more than 500 exhibiting films and influential judges from nearly 100 countries.

At the Beijing International Film Festival’s “Movie Risk Assessment and Risk Control” forum, Yin Hong, director of the China Film and Television Communication Research Center, pointed out that to run a national film festival must have two elements: authority and participation. A successful film festival should have the difference and recognition of existing international film festivals and establish its own authority. In my opinion, the Beijing International Film Festival is improving its international influence. It is not only internationally enhanced, but also has good openness and inclusiveness. In addition, a huge market needs to have a matching film festival and movie trading market. This is the responsibility and obligation of the Beijing International Film Festival, and it is also the opportunity and potential for its development. As one of the most important sections of the Beijing International Film Festival, the film market segment has been aiming at the development of the film industry chain since the first session, focusing on building a domestic leading, world-class film element exchange platform and project venture capital trading platform. It continues to create new markets, new brands and new benefits for the development of the Chinese film industry.

The Beijing International Film Festival is an important opportunity to shape the image of the national film. It gives China the opportunity to invite internationally outstanding films and better display their own movie treasures. I found that this film festival has increased the contrast between film cultures in different countries. For example, this year’s comedy theme shows different comedy styles and important comedy authors from different countries. Among them, the special topic of “Beijing-style comedy” was opened, and the works of directors such as Feng Xiaogang were screened to guide the audience on how to treat Chinese film’s own creation in the context of the comedy type as a whole. At the same time, it also highlights Beijing itself as a film production place, or the presence of the place where it exists.

Today, Beijing has become an Asian film production center. As a capital, Beijing can represent the country, and it is also the political and cultural center of China, a famous city with a long history, and the cultural context of its own city. Relatively speaking, it can appear in the form of a ‘three in one’, both in Asia and China, and also in Beijing itself. This feature has a double-edged sword effect on film curation. On the one hand, it is more susceptible to policies and the industrial situation. On the other hand, it requires a higher macro position for curatorial and design.