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Looking at the Chinese film industry, it is not difficult to detect that a new generation of directors is gradually emerging, and this new force is comparable to the Spring Festival file in this year's Dragon Boat Festival film box office competition. A series of high-quality works such as Chen Sicheng's "Disappearing Her", Wang Baoqiang's "In the Octagon Cage" and Han Yan's "I Love You! brings together to make the cinema come alive again. In particular, Chen Sicheng's "Disappearing Her", the box office easily exceeded 200 million in just two days after its release, although some people praised its layer-by-layer reversal, but some people criticized the sense of suspense is not strong enough, and the reputation is mixed.
"I Love You!" directed by Han Yan! Although the script only scored 7 points, it achieved full score influence due to the excellent interpretation of the old actors. Elements such as warmth, emotion, and joy are intertwined, and although the subject matter is slightly weak, it sets a benchmark for love movies for the elderly.
And Wang Baoqiang, with great sincerity, spent three years to produce the movie "In the Octagon Cage", a realistic work that is currently only in the screening stage, but has already received more than 20 million box office. This time, Wang Baoqiang seems to be ready to fight a beautiful "turnaround battle" in the field of commercial films.
In contrast, older generations of directors, such as Feng Xiaogang, whose last popular film dates back to 2017's Fang Hua. In the past six years, Feng Xiaogang has either made movies or TV series, but the only film he directed "Only Yun Knows" has been a dismal box office. Recent news shows that he plans to shoot the movie "Do Not Disturb 3", and seems to still stick to the route of commercial films.
Chen Kaige is also a representative figure among the older generation of directors. Although he won the "main theme" dividend with "Changjin Lake" in the first two years, the works that have been continuously launched recently do not seem to have aroused high expectations from the audience. Only Zhang Yimou still seems to be full of creativity and dabbles in various film themes, but some viewers think that the quality of his work is not as good as before.
These older generation directors seem to be gradually becoming slaves to commercial films, no longer risking innovation, but sticking to the market and shooting conservative commercial genre films. Even the avant-garde Stephen Chow has embarked on this path.
Stephen Chow, a popular comedian, but the director's work has aroused different opinions from the audience. His films The King of Comedy, Kung Fu and Shaolin Football were once all the rage, but in recent years, he seems to have fallen into a creative bottleneck. Although some works, such as "Yangtze River No. 7", are still loved by audiences, his new work "Mermaid" has performed well at the box office, but its reputation has not been as expected. The subsequent "New King of Comedy" aroused strong doubts from the audience.
Although Stephen Chow still insists on shooting sequels, such as "Mermaid 2" and "Kung Fu 2", without his own performance, the audience seems to feel a different taste of the work. Stephen Chow may already be "poor in donkey skills" in the field of directing, and can only continue to shoot conservative commercial films.
However, in any case, Stephen Chow's films accompanied the youth of many people and left indelible memories. I hope that he can continue to pursue his dream of film creation, constantly explore new fields, and usher in a new spring.
In conclusion, the changes and challenges between new and old directors in the Chinese film industry reflect the development and transformation of the film industry. A new generation of directors is emerging with new ideas and styles, while older directors are constantly trying to adapt to market demands. In this highly competitive era, only by constantly innovating and challenging yourself can we maintain vitality and influence in the film industry.
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