Beijing International Film Festival forges new prominent power for Chinese film industry

　　The Film Market section of the 6thBeijing International Film Festival was held at the Beijing International Hotel from April19 to 21. The film festival will give more support power to excellent film projects and young authors, continuously deepen functions of the Film Market section as a protect pitch incubator to forge ‘new prominent legion’ for Chinese film industry.

　　Young filmmakers currently represent a group of possible miracle makers in the Chinese filmdom. In recent years, some works with high box-office in the Chinese filmdom were directed by young directors, which also suggests that generational changes of Chinese films have completed and young filmmakers have inherited from the old ones to reflect the new era with their own languages, styles and perspectives, while Beijing International Film Festival is a platform helping young filmmakers with talents to inject fuels and speed ahead.

　　To achieve film dreams without looking for pulling strings is possible.

　　A few years ago, Chinese young filmmaker group was still at sea, they often hit barriers with scripts at hand; therefore, they could only shoot some low-budget films. But now the situation has improved a lot, Chinese film market is prosperous; new filmmakers may have a bright future with good scripts and creativity by signing a contract with high amount; while Beijing International Film Festival is “the start place of dreams” for many young filmmakers.

　　The venture capital project of Beijing International Film Festival which attracts wide attention every year aims to build a transaction platform with the integration of investment, production, marketing and publication where selected excellent film projects are fully connected with the film industry chain, thus creating excellent films with market potential.

　　This year, Beijing International Film Festival organizes tens of new film release conferences and premieres through Film Screening section to set up propaganda and promotion platforms for new filmmakers and new pieces; sets up “Recommendation of Movie Critics” section to discover, promote and support excellent young filmmakers with market potential in the filmdom; establishes “Award for New Chinese Film Talents Fund’ with Cannes Film Festival, “MPA Award” with Motion Picture Association of America and founds “Forward Future” section to encourage original films and discovers new film talents.

　　A few years ago, Chinese young filmmaker group was still at sea, they often hit barriers with scripts at hand; therefore, they could only shoot some low-budget films. But now the situation has improved a lot, Chinese film market is prosperous; new filmmakers may have a bright future with good scripts and creativity by signing a contract with high amount; while Beijing International Film Festival is “the start place of dreams” for many young filmmakers.

　　With the platform, outstanding young filmmakers have magic tool to knock the door of opportunity. Experience of the scriptwriter Jiang Jun of My Beloved Bodyguard is a representative example. My Beloved Bodyguard is now on show, which concentrates Andy Lau, Sammo Hung, Feng Shaofeng, Eddie Peng and other big shots. The reason why the project is favored because of the Beijing International Film Festival Project Pitch platform. At the Beijing International Film Festival, Jiang Jun told reporters about his “miracle”.

　　Before entering the filmdom, Jiang Jun used to work at a TV station and shot advertisements to make a living, but he believed that his dream was making films, therefore he wrote a film of An Old Solider (later changed the name to My Beloved Bodyguard). At first, Jiang Jun also wanted to shoot the movie by finding investment himself, but he failed because he was a layman of film and did not know which channel to deliver scripts. Occasionally, he met several small companies, but these companies did not recognize his story. At one time, Jiang Jun told his distress to a media friend who suggested that he should try his chance in Beijing International Film Festival Project Pitch section and gave him the official channel for application. Later, Jiang Jun sent the summary and outline, and he was told to be finalized. Finalized directors are told to explain own project by PPT, so Jiang Jun made the story into a small film which impressed jurors, as a consequence, An Old Solider won a Special Award of Project Pitch section in 3rd Beijing International Film Festival. Later, Jiang Jun was recommended by relevant personnel of the film festival to Bill Kong—boss of EDKO Film Limited who recommended Sammo Hung. In this way, “snowball” of the idea gathered as it went on, eventually, Sammo Hung personally directed the film and played as an actor with Andy Lau, Eddie and other actors in the film.

　　Jiang Jun sighed with emotion to reporters: “Market pitch of Beijing International Film Festival which is a place to realize film dreams without pulling strings is very useful for young directors. The film festival is a bridge, on one hand, it takes us to the bridge; on the other hand, it takes investors to us. We meet each other on the bridge, thus avoiding many misunderstandings and adding success odds, meanwhile, I get a lot experience from the process. It is believed that more young filmmakers will get help from Beijing International Film Festival this year, thus determining own film roads.”

　　Beijing International Film Festival digs “potential stocks” of the film market.

　　As a wind indicator of filmdom, Beijing International Film Festival acutely discovers talent and potential of Chinese young directors. With age of Chinese film audience moving forward to younger age, talent structures of Chinese film also have important changes, filmmakers and objective data point out a new fact—completion of generational change of Chinese film. New filmmakers broke the status that fifth “elite” films commandeer the market for thirty years. New audiences, new media, new filmmakers promote the Chinese film industry to be the first one completing intergenerational alternation in all culture field.

　　For nearly 30 years, “ring out the old and ring in the new” pattern of Chinese film has never been clear than now. Starting by One and Eight in 1984, Zhang Yimou, Chen Kaige and other fifth generation directors enter the Chinese film and are regarded as “great directors”. They used reformation of aesthetics thinking and exploration of cultural reflection to contribute to booming of Chinese films in the world. Though they are still trying to make breakthroughs and their works are stilling attracting attention and receiving respect, but changes of the Eras make them unavoidably stagnate in their creation.

　　Change signs in film time are implied in 2011. At that time, Love is Not Blind directed by Teng Huatao, One Mile Above directed by Du Jiayi, The Pianoina Factory directed by Zhang Meng have shown observation ability and control power on real life of young directors. Outbreak of Lost in Thailand in 2013 is good enough to make “elder” filmmakers to feel relief. Though the legend of Lost in Thailand is “second to none” at one time, but it is not a single example, rather like the last effort of well diggers which guides accumulated power to come out. From these excellent “points” connecting to Painted Skin 2 and Lost in Thailand , it can be seen that border for new films has been finished.

　　After Lost in Thailand, more and more new directors begin to show their talents. First debut film of Zhao Wei as a director—So Young describes a common youth group image of 1970s; Tiny Times directed Guo Jingming describes lasting youth. Directed topics of Zhao Wei and Guo Jingming are related to youth, emotions and life of new generation audiences, which cannot be completed by older directors supposedly. Just according to Director Huang Jianxin, “People at age of 60s have different emotion expression and appreciation methods with people at age of 20s, therefore films reflecting current real value of the society cannot be made by filmmakers of 60s, if they do, all young audiences will say no to these.” Chinese audiences are tired of ancient films with ten years, nowadays, films are granted to human breath eventually. Audiences have reasons to reward themselves and rest dull audio-visual nerves with local film stories.

　　In this way, great changes have occurred in Chinese films, and survey data also confirms to the theory. According to data, during 58 pieces of films from 2012 to 2014, 26 pieces are directed by new generation directors of 1970s. In the first six months of 2015, in the 95 pieces with box office data, 65 films are directed by new generation directors with 48% box office; directors of 1980s occupy 20% share of box office. Monkey King: Hero is Back and A Hero or Not gain large box offices at summer; box offices of Lost in Hong Kong and Goodbye Mr. Loser at national days both are more than 1.2 billion. In addition, audiences who are college students reach 20 million contributing nearly 40% box office, 80% of which times of going for movie theaters are more than 12 times.

　　Beijing International Film Festival assists shaping new patter of the film industry.

　　Why new filmmakers can be famous continuously? The reason is young people born in 1990s and 2000s have become the mainstream of audience. In other words, the generation of Chinese audiences are changed nearly at the same time of creation of Chinese films. Young audiences are leading the film consumption.

  An investigation is done in four representative cities—Beijing, Shanghai, Chengdu and Guangzhou by Beijing Normal University. According to the investigation report, audience age of Journey to the West: Conquering the Demons is the youngest, the average age is 29.35; the second youngest is CZ12, 31.69, then Lost in Thailand , 32.84. The overall average age is about 30, and the younger trend is quite obvious.

　　Degree composition of film audiences is also different from the past, audiences with bachelor degree and above account for about forty percent, audiences of college degree account for more than twenty percent. In which, bachelor degree and above education background of audiences for Lost in Thailand accounts for 41.6%; while that of audience for Journey to the West: Conquering the Demons accounts for 43.5%. It suggests that many white-collar audiences come to movie theaters, as “peers” of actors of Finding Mr. Right and So Young in culture and life backgrounds, they certainly will appreciate and pay the bill for stories close to own stories.

　　In addition to factor of audiences, investors for films are developing towards to diversified directions, thus bringing new talents and cross-border talents, new work patterns, film categories, creation methods and mode of discourse to front of the market, mobilizing more audiences come to movie theaters and it becomes hotspots of films and focuses of public opinions. At the same time, these new phenomenon and new hotspots are appearing as new forms, forming new patterns of film creation and the film industry. All these embody the new energy and vigorous vitality of the Chinese film industry and mark that Chinese film has stepped onto a healthy, active and sustainable way. And Beijing International Film Festival therefore presents more energy and gives more support to young film makers than before.At Beijing International Film Festival Beijing International Film Festival, good news for young directors is constant.

   At Beijing International Film Festival Beijing International Film Festival, good news for young directors is constant.

　　At present, new film talents in the filmdom are still constantly emerging.Chen Zhixi—Film Producer in the generation after 80s is a trader of the three movies—Lost in Thailand, A Hero or Not and Detective Chinatown whose total box office is more than 3 billion. Chen Zhixi wants to cooperate with new directors to dig levels of Chinese comedy film. “Comedy forms are various, in the future, we will give more try to compound type comedies, for example, Detective Chinatown is a mix of inference and comedy.” Chen Zhixi is ambitious to cooperate with Director Chen Sicheng for developing Detective Chinatown type into Chinese detective IP. “The first movie about Detective Chinatown is in Thailand, then expanding to America, Australia….. We are going to make movies about Chinatowns in various places around world”. The advantage of new directors seen by Chen Zhixi is lower budget of communication which is easier to promote a project developing towards a good direction.

　　As for prospect of Chinese film market, in the opinion of Chen Zhixi, the future will be better and better. As films get higher and higher recognition, more and more audiences are willing to enter movie theaters to make it become a people-oriented cultural entertainment product. At present, main audiences for films are people in the generation after 90s, but it is not suggested that generations after 70s and 80s do not have consumption ability. Of course, the core of a film is the most important; we shall not blindly cater to the market. Instead, we just need to make a good story and script on a firm footing based on the market; only in this way, could we be accepted by the public.

　　“Vigorous development of China's film market also allows each newcomer to feel the power. Jiang believes that overall environment of Chinese film has given him clear sense of direction, “I used to know little about film. Luckily, there are many chances for talented people; therefore, a young person could be greatly inspired spiritually. When attending Beijing International Film Festival, I had to face various people, tell and promote my concept of film to them. I used to be introverted and not good at communication, but I became more confident and open in this process”.

　　At Beijing International Film Festival this year, great effort has been made to help young directors in tangible way, which could be called “constant good news”. On April 19, “Plan for Producers of Wu Tianming Film Foundation” published the nominees on Beijing International Film Festival including Shan Zuolong, producer of Last Evenings on Earth, SuonanRenqingjia, producer of Lhamo and Skalbe, Deng Sheng, producer of Those Who Disregard, Wang Jijie, producer of Goodbye Again and Xiao Qiancao, producer of Blizzard Blizzar is Coming. Next, they will go to Cannes to attend workshop of producers and have access to international financing.

　　Lhamo and Skalbe is the latest piece of a young Tibetan direction Sonthar Gyal. I was in the mountain when receiving the interview notice. I really appreciate the opportunity given to me that helps me go from Qinghai to Cannes,” said the producer Sonam Rinchen Gyal excitedly.

　　Wu Tianming Film Fund recruits and selects five outstanding young film producers in China in each May every year. It offers them the opportunity to attend the annual Cannes Producer Workshop and also provides publicity and promotion in the global field for projects of these young film producers and even the opportunity to get connected to the industrial resources. They are also invited to attend the high-quality Project Pitches Conferences held by Wu Tianming Film Fund for Young Talents China Film Foundation.

　　Over one hundred well-known film talents such as Zhang Pimin, Feng Xiaogang, Jia Zhangke, Wang Luodan were present at the “Light of the Great Masters” banquet sponsored by Wu Tianming Film Fund for Young Talents China Film Foundation. In the banquet, Mr. Zhang Pimin, chairman of China Film Foundation released the 2016 Work Plan of Wu Tianming Film Fund for Young Talents. Ms. Wu Yanyan, director of Wu Tianming Film Fund for Young Talents & daughter of Mr. Wu Tianming gave an explanation to the new “Dandelion Program” of CFF. Ms. Wu said she received many messages from a number of friends in just one afternoon. All of them expressed the intention to support the “Dandelion Public Service Movement” with their actual efforts. As the first participants of the Movement, Jia Zhangke and Wang Luodan shared many of their interesting stories when they were just new to the Movement with us. Huang Xiaomin, Feng Shaofeng, Zhang Yimou, Zhang Jizhong, Fang Li also sent us their blessing videos where they expressed the intention to participate in the “Dandelion Public Service Movement” and give more help to film newbie.

　　Good news for young film talents came in a flow at Beijing International Film Festival. On April 19, New Chinese Film Talents announced its official foundation at Beijing International Film Festival with an aim to discovering the outstanding new forces in Chinese director teams and to having more of their better pieces shown in the market as soon as possible. Different from other young director programs, the New Chinese Film Talents focuses more on realistic assistance in funding, marketing and release in addition to creation and technical support.

　　Different from previous Beijing International Film Festivals, the current Beijing International Film Festival continued to discover the functions of the film festival with an aim to helping more young film talents from all aspects. Ms. Zhang Yaoting, the curator of Beijing Film Panorama unit said it could be achieved by creating the opportunity with which young film talents have a dialog with the great masters and comparative studying the works. Zhang said, “I have a film critic friend named Yunzhong. He made his first film Something In Blue when approaching to his forties. Assume that if Director Johnnie To was just present at Yunzhong’sMilkyway Image 20 Anniversary in Beijing, we could have a dialog between Yunzhong and Johnnie Toto listen to the instructions of the senior. This is a beneficial form of communication.” 

　　However, for comparative studying the works, Zhang explained, “for example, Director Bi Gan once said at the preview of his maiden work Kaili Blues that he appreciated Director Tarkovsky the most. His work Stalker left significant impact on the Kaili Blues. For this reason, this year we intend to initiate co-release and comparison of two pieces of work. A great number of Chinese and foreign films in comparison are shown in the film festival this year. We will put our focus on such an idea in the unit design. We are to put domestic films into integrated planning and promote new work of fresh directors.”