(For Phoenix Entertainment, the title of the publication has been changed: "The Rise and Fall of Chinese Independent Films in Ten Years: The Number of Subject Matters is Far Too Much for Film Festivals")
In 2003, Diao Yinan's directorial debut "Uniform" went to film festivals such as Rotterdam, Vancouver, and Busan. After that, until 2007, he was shortlisted for a concern unit in Cannes with "Night Train". Audiences who are familiar with and like Chinese independent films should not be unfamiliar with Diao Yinan. Although he has not created very frequently in the field of independent films in the past ten years, the coherent gloomy and gloomy style of these two works. As well as a relatively European-style artistic flow, coupled with a strong sense of realism, he has occupied a strong position in the independent film audience. I believe that many viewers are actually prepared to see the news of "Fireworks in the Day" reaching the top of the Berlin Golden Bear today.
Ten years of independence and persistence
Coincidentally, from 2003 to 2014, it was also the nearly ten years that the domestic film industry was advancing in a frenzied manner, passing through the fifth-generation blockbuster syndrome, the northward gold rush of Hong Kong directors, and the pyramid scheme of film marketing in recent years. worship. The sixth generation represented by Jia Zhangke, Lou Ye, Wang Xiaoshuai, Wang Quan'an, etc. is in the middle of the industry wave, and has also released works such as "Purple Butterfly", "The Good Man in Three Gorges", "Rizhao Chongqing" and "Tuya's Marriage", but one by one In front of the industrial market, they are all defeated. At the same time, the more than ten years of independent film are also the three most important film exhibitions among the people (China Independent Film Exhibition in Nanjing, Beijing Independent Film Exhibition based in Songzhuang, and Yunzhinan Documentary Film Exhibition in Kunming on the border). In the ten years of rise and fall, the three major Chinese private film festivals have absorbed the most important independent creations in more than ten years in addition to the wave of industrial development. At the same time, they have also promoted the authorization and freedom of domestic films in a sense of holding together for warmth. creative expression. There are already many specific cases: Cheng Er's "Criminals" participated in the first independent video exhibition in 1999, and later "Border Situation"; Ning Hao, who was shortlisted for the China Independent Video Exhibition with "Incense" in the early years, is now a play A big celebrity who turned to mainland commercial films; Wang Quan'an after "Jing Zhe" also produced the topical work "White Deer Plain"; Hao Jie after "The Bachelor", "Sister Beauty" also received wider praise in 2013... …. In the field of drama films, I believe that Diao Yinan is only a temporary new case of "Golden Bear". From sticking to the path of free creation and expressing individual voices, it will naturally have the possibility of getting closer to the brilliance of film art.
The Voice of Freedom
has been calling for "freedom of creation and expression" in the mainstream film industry in recent years, but in fact it is only the benchmark of independent film art in recent years. The independent film creation group has been self-exiled outside the domestic film industry system for more than ten years. , or have never taken the initiative to approach the film censorship system. From this point of view, their freedom at the creative level has long been an indisputable fact, and diversified expression has never lacked free exploration in the field of independent films. In fact, it is the dissemination channel of this kind of video art. In addition to the dazzling "Fireworks in the Daytime" and "Tuina" this time in Berlin, Dayong Zhao of "Ghost Days" is also one of the main creative forces of independent films in recent years. As far as independent movie audiences are concerned, it is not enough to only focus on the works of the spotlight. In the more excellent independent movies hidden in the snow, the audience can feel more free breathing and more profound eyes like torches.
The connection field between art and capital
shines under the spotlight, harvesting the light that the artist should have, and possibly lighting up the screen of more audiences. Naturally, it is one of the good outlets for the artistic expression of film. Exercise and creation in the field of independent films reserves energy and talents for the mainstream film industry, which is also an inherent tradition of European and American countries. This kind of benign connection, rather than the confrontation under the domination of official ideology, should become the norm. Capital plays the role of "star scout" to understand and discover the skilled craftsmen needed by the market. This role requires a more professional and keen sense of smell. The venture capital market of many film festivals should complete this connection and delivery more professionally. As one of the venture capital projects of the Shanghai International Film Festival, "Fireworks in the Day" may be a better reference for the subsequent Mainland film festivals, so that the cooperation between capital and artists can reach a balance.
In addition to being inspirational,
if you only explain the meaning of "Fireworks in the Day" from the inspirational model of some kind of "success", it would be too underestimated the charm of Chinese independent films. Freedom, openness, diversity, unknown, etc., the vast field that independent film art can reach is far from being accommodated by international festivals and exhibitions. Aspiration Festival exhibition is naturally one of the goals to pursue, but it is by no means the direction that every independent film artist pursues. Some people are desperately trying to squeeze into the mainstream, making large-scale investments and starring actors; some are deeply immersed in sharper civic images and give their lives to accompany the gentleman; naturally, some people are alienated from the crowd and go to the mountains to go to the fields; According to their own production methods, they are not in a hurry to "rise" or "fall back", but keep their original desire for image creation and bring forth new ideas. These types of films are compatible and inclusive, so as to jointly maintain a rich and full Chinese independent film community.
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