Chinese-language films are in full swing.
Such a thriving scene should start from Xu Zheng's "Tai 囧".
In 2012, "Tai 囧" opened the door to the 1 billion box office of Chinese films, and the annual box office champions of the Chinese film market in the past years are almost all domestic films.
Since the beginning of this year, Chinese mainland surpassed Japan to become the second largest box office in the world, and even in the case of the spread of the epidemic around the world, the box office of Chinese films can achieve reverse growth.
However, as Chinese films have repeatedly reached new highs at the box office, the quality of domestic films is worrying.
The high box office is 5.69 billion for "Wolf Warrior 2", 5.41 billion for "Hello, Li Huanying", and 5.03 billion for "Nezha's Devil Boy Descending".
It's just that these films have high box office, but they don't have heavyweight awards, and it is impossible to talk about international prestige.
From the birth of China's first film "Dingjun Mountain" in 1905 to the present, Chinese films have gone through 116 years.
In the past hundred years, Chinese films have had their glory and rise and fall, but only ten people have won the honor of film emperor film at the three major film festivals in Europe.
So far, there are only two Cannes film emperors in China, one is Ge You and the other is Liang Chaowei.
Ge You's film that won the Cannes Film Emperor is Zhang Yimou's "Alive", to give an example to prove Ge You's acting skills, to see how he shows fear.
The answer given by the general actor is to frown, stare, or speak incoherently, touch his head with his hands, and shiver with his feet, but Ge You's acting method, without a line, can feel his fear.
Fugui saw that the landlord Ryuji was shot, and it should have been him who died, but he was lucky to escape this fate because he lost all his family property to Ryuji when he was young.
It was just that the fear factor was still spreading on him, and after coming out of the shooting scene, Fugui walked unsteadily, and because he could not stand, he could only pee on the trunk of the tree, and his back was soaked with cold sweat.
In this shot, even if you don't see Ge You's face, you can feel Fugui's fear from the wet back and unstable body.
Leung Chao-wai's film that won the Cannes Film Emperor is Wong Kar-wai's "Fancy Years".
There are not many lines in "Fancy Years", even the characters are only about ten people, and the plot is even more illusory and ethereal, so the plot promotion depends on the actor's acting skills.
His eyes are like knives, directly cutting into the restless heart; like the wind, gentle brushing but leaving a trace of warmth; like electricity, although there is no eye for ten thousand years, it can make people forget time.
The melancholy, tenderness, confusion, sadness, and coldness in his eyes are transformed between different scenes under Wong Kar-wai's guide tube, which is Zhou Muyun, and the meaning conveyed by the eyes under each lens is different.
So far, there are only two Berlin film emperors in The Chinese, one is Liao Fan and the other is Wang Jingchun.
Liao Fan has always been an obscure actor, even if "Daytime Fireworks" made him the first Berlin film emperor in the Chinese mainland, he still did not become a big hit, but his acting skills cannot be ignored.
In "Daytime Fireworks", Zhang Zili, played by Liao Fan, is a screwed man, and it is unnatural to be injured, break the case, and approach a woman.
In the film, he seems to be choked by someone, and his every move looks awkward, not painful enough, and there is no cheerful look and feel.
His behavior is only for survival and truth, so every sentence, every expression has a deep meaning, and it is this realistic performance that makes Liao Fan different from other actors.
In "The Earth Is Long and Long", Liu Yaojun, played by Wang Jingchun, is a traditional Chinese father who lacks love and is grumpy.
His performance makes this calm tragedy of "Long Time" flattened, but this bland feeling is the murderer of the family.
Because in many cases, Chinese-style families do not have so many chickens and dogs, but instead are full of complaints from parents, and the restraint and patience of children, understanding or naughtiness.
As for the Venetian film emperor, there is only one Chinese, that is, Xia Yu.
Xia Yu's award was an accident, "Sunny Day" was his debut work, acting he did not understand at the time, only with pure and natural acting, but this relaxation made him the first Venetian film emperor in the Chinese mainland.
"Sunny Days" is Jiang Wen telling the story of his time.
He chewed up his experiences and kneaded them with different spices to make dishes with different flavors but "astringent" at their core.
His approach is to copy it as it is in his memory, and as the memory is used up little by little, his whimsical ideas are left without the support of fantasy, leaving only empty skin bags and uninteresting souls.
So now Jiang Wen has no such taste, in fact, it is not that his talent is exhausted, but the story is almost finished.
Coincidentally, the film emperor and post-film awards won by the Chinese in the three major european film festivals were actually half open.
There are two Venice queens, one Cannes film queen, and three Berlin film queens, of which Maggie Cheung is both cannes and Berlin film queen.
Venice film queen, one is Gong Li, and the other is the star of "Sister Peach".
Qiu Ju in "Qiu Ju Fights a Lawsuit" actually does not understand the law, she only wants a statement, but her behavior is the enlightenment of rural legal awareness.
How should law popularization be top-down? How can the sense of separation between urban and rural areas be eliminated? Humane society or legal society, which is the real China?
In addition, there are now cities that have less fraud in the past and more civilization in the present, but cities are becoming less and less suitable for rural people.
The countryside has also lost the tranquility of the past, more modern atmosphere, but it is also less and less suitable for rural people, and deducing this class differentiation and deformity is the key to Gong Li's award.
After the Cannes film, Maggie Cheung is the only one among the Chinese.
Berlin's film queens are Maggie Cheung, Siu Fong Fong and Wing Mei, and are the most awarded international A film festival for Chinese actors.
The important emphasis is naturally on Maggie Cheung, who by the age of 30 had become the ceiling of Chinese actresses, and it was still a kind of existence that was difficult to surpass.
1989's "Man in New York" made her a Golden Horse Film Queen; the same year's "Woman Who Doesn't Take Off Her Socks" made her a Golden Queen.
In 1991's "Ruan Lingyu", Maggie Cheung won the Best Actress Award at the 42nd Berlin International Film Festival the following year, becoming the first Chinese actress to win the Best Actress Award at the three major international film festivals in Europe.
Co-starring with Dawn in "Sweet Honey", she was selected by time magazine in the United States as the second of the top ten best films in the world of the year, and she herself won the Golden Horse and golden queen.
Participating in Wong Kar-wai's "Fancy Years", Maggie Cheung was selected by Entertainment Weekly as the 43rd of the 51 great performances in the history of film that were ignored by the Oscars with her performances in the film.
In 2003, Maggie Cheung once again made history, starring in the feature film "Clean", winning the Best Actress at the 57th Cannes International Film Festival, becoming the first Asian actress to win the award.
Such a Maggie Cheung is unlikely to be caught up in the next thirty years, and the Chinese films of the past have also shined around the world.
It is a pity that the changes in the market, the replacement of actors, the lack of directors, the reduction of screenwriters, and the intervention of capital have made Chinese films taste bad.