To give you a rough idea of the average size of the Berlinale, a few numbers from 2014: then, statistics indicated a total of 491,316 theatre visits, 16,148 accredited professionals from 131 countries, 3,742 journalists from 81 countries, 413 films in the public programme, a total amount of 945 public screenings and 8,396 movie industry participants in the European Film Market, the business branch of the festival.
Starting on February 5, the area around so-called 'Berlinale Palast (Berlinale Palace)', the main venue located at tourist hot spot Potsdamer Platz, will draw again large crowds of local and foreign film enthusiasts, stressed journalists and busy film professionals.
Compared to the two old rivals, namely Cannes and Venice, that both may well be a lot more glamorous and exclusive, the Berlinale is unquestionably the European film festival that has the widest public appeal.
Compared to the two old rivals, namely Cannes and Venice, that both may well be a lot more glamorous and exclusive, the Berlinale is unquestionably the European film festival that has the widest public appeal.
Movies from mainland China, Hong Kong and Taiwan are normally well-represented at the festival (in 2014, 'Black Coal, Thin Ice' or '白日焰火 Bai ri yan huo' by Diao Yinan (刁亦男) received the Golden Bear for Best Film) and this year is no exception, even if the selection is slightly more limited than usually.
To begin with the big names, renowned Chinese director Jiang Wen (姜文) is represented in the 'Competition' with his latest 3D epic 'Gone With the Bullets (一步之遥 Yi bu zhi yao)' (2014), the eagerly awaited sequel to his wildly successful action comedy 'Let the Bullets Fly (让子弹飞 Rang zidan fei)' from 2010.
The prominent cast includes the director himself, Ge You, Zhou Yun and Shu Qi. Jiang's new production is introduced as follows:
The prominent cast includes the director himself, Ge You, Zhou Yun and Shu Qi. Jiang's new production is introduced as follows:
'Shanghai around 1920. Ma Zouri, ex-aristocrat turned professional conman, is in cahoots with policeman "Bruni" Xiang Feitan. On behalf of insatiable playboy Wu-Seven, they launder money on a grand scale.
Their numerous activities include putting on a beauty contest to which the collective elite of the city are invited. The surprising victory of an outsider sets in motion a chain of events which escalate into a lethal maelstrom.
Jiang Wen has already proven that a country's turbulent history can be mirrored in a cryptic genre-mix in his comedy gangster drama Let the Bullets Fly. That film was set in the Chinese provinces; now the director and actor moves to the big city.
The booming metropolis of Shanghai has often served as a cinematic backdrop for stories set in the politically charged epoch of the 1920s. Though opulent, the second part of the Bullet trilogy traces the painful aftermath of the civil war and the threat of future social upheaval in between the flamboyant costumes and sumptuous sets - a dance on the edge of a volcano.'
In the PR China, the film's reception has been disappointing mostly; neither critics nor audiences seemed to like the sequel to the highly acclaimed 'Let the Bullets Fly' very much.
Jiang also has had a hard time getting the film past inscrutable state censors who requested a multitude of changes in the dialogues before giving the thumbs-up.
In a recent interview in the South China Morning Post, the director / actor talks in great detail about his latest work and the negative reactions he got. Watch the official trailer below.
Jiang also has had a hard time getting the film past inscrutable state censors who requested a multitude of changes in the dialogues before giving the thumbs-up.
In a recent interview in the South China Morning Post, the director / actor talks in great detail about his latest work and the negative reactions he got. Watch the official trailer below.
Beyond the 'Competition', several Chinese films vie for the attention of critics and the public in different festival sections.
The section 'Panorama Dokumente (Panorama Documents)', for example, has invited Brazilian director Walter Salles' tribute to the indisputable icon of the so-called 'Sixth Generation' of Chinese film-makers, Jia Zhangke (see also my earlier post here).
The documentary 'Jia Zhang-ke, um homem de Fenyang (Jia Zhang-ke, a guy from Fenyang)' follows Jia to the locations of his filming and the places he grew up, thereby showing the fundamental changes in the country.
The section 'Panorama Dokumente (Panorama Documents)', for example, has invited Brazilian director Walter Salles' tribute to the indisputable icon of the so-called 'Sixth Generation' of Chinese film-makers, Jia Zhangke (see also my earlier post here).
The documentary 'Jia Zhang-ke, um homem de Fenyang (Jia Zhang-ke, a guy from Fenyang)' follows Jia to the locations of his filming and the places he grew up, thereby showing the fundamental changes in the country.
In the section that is known for the most daring, innovative and experimental contributions, the 'Forum', the 2015 co-production (PR China / UK) 'K' by Mongolian directors Emyr ap Richard and Darhad Erdenibulag may well deserve lots of curious spectators. Set in the immense vastness of the Inner Mongolian plain, the work is allegedly a 'spare, quietly radical adaptation of the Kafka classic'.
Mainly children and young people are addressed in the section 'Generation Kplus' in which two submissions made in the PR China have found their way.
The Tibetan film 'River (Gtsngbo)' by director Sonthar Gyal centers on a small village girl whose life is deeply impacted by her father's demons that ultimately endanger the whole family. The moving story is told entirely from her point of view.
The second contribution, Li Ruijun's 'River Road (Jia zai shuicao fengmao de difang)', describes the arduous journey of two young brothers along the ancient Silk Road to reunite with their parents. Seen through their eyes, the film criticizes the pitfalls of modern civilization and the loss of their way of life.
The Tibetan film 'River (Gtsngbo)' by director Sonthar Gyal centers on a small village girl whose life is deeply impacted by her father's demons that ultimately endanger the whole family. The moving story is told entirely from her point of view.
The second contribution, Li Ruijun's 'River Road (Jia zai shuicao fengmao de difang)', describes the arduous journey of two young brothers along the ancient Silk Road to reunite with their parents. Seen through their eyes, the film criticizes the pitfalls of modern civilization and the loss of their way of life.
Now to the Chinese compatriots from Taiwan.
In the regular 'Panorama' section, the movie 'Paradise in Service (Junzhong leyuan)' by director Doze Niu Chen-Zer depicts the oppressive military life on a Taiwanese island outpost during the times of Mao Zedong.
In another accepted submission from Taiwan, film-maker Chang Tso-Chi portrays the life of two brothers in the capital Taipei. In his 'Thanatos, Drunk (Zui sheng meng si)', one of the brothers is straight, the other one is gay; both are looking for a job and struggle to find their way in an urban environment that is hostile to the younger generation. This last work screens in the section 'Panorama Special'.
In the regular 'Panorama' section, the movie 'Paradise in Service (Junzhong leyuan)' by director Doze Niu Chen-Zer depicts the oppressive military life on a Taiwanese island outpost during the times of Mao Zedong.
In another accepted submission from Taiwan, film-maker Chang Tso-Chi portrays the life of two brothers in the capital Taipei. In his 'Thanatos, Drunk (Zui sheng meng si)', one of the brothers is straight, the other one is gay; both are looking for a job and struggle to find their way in an urban environment that is hostile to the younger generation. This last work screens in the section 'Panorama Special'.
Last but not least, the European Film Market (EFM) organizes the EFM Industry Debates where a panel on 'China's Online Video Revolutionaries' is hosted to discuss the impressive success of online video companies in the country, their different business models, vagaries of the market and future development possibilities.
No comments:
Post a Comment