Wan Ma Tse-dan's new film "Tharlo" opened in North America and the domestic release is imminent

Poster for the North American release of "Tharlo"

1905 Film Network News Wan Ma Tse-dan director's new work "Tharlo", following last year's entry into the Venice International Film Festival "Horizon" unit, and won the best adapted screenplay at the Golden Horse Film Festival, has successively traveled to more than 10 festivals and exhibitions at home and abroad, recently, the filmmaker revealed that "Tharlo" will be released at the Museum of Modern Art (MoMA) in New York on September 28, taking the lead in meeting with foreign audiences.

As an important author in the world's national film genealogy, Wan Ma Tse-dan has always maintained a more active and upward creative trend. Different from the main melody tune of the great unity of the nationalities that frequently emerges in Chinese national films, or the piling up of ethnic minority hunting landscapes, Wan Ma Tse-dan, who was born as a writer, has a more profound and thorough concern for ethnic minorities, starting from "Quiet Ma Ne Stone" (2002) to "Colorful Divine Arrow" (2014), Wan Ma Tse-dan has been seeking inward, born out of the text, and observing various changes in Tibet with the lens.

In a way, "Tharlo" is regarded as Wan Ma Tse-dan's best work to date, telling the story of Tharlo, a shepherd with a superb memory, who is triggered by his identity card application, and does not stick to the cultural context inherent in Tibet, but instead discusses the identity anxiety that arises when people change their circumstances in a grander way.

Word of mouth continues to ferment, and the release is just around the corner

In addition to "Tharlo" in the film festival journey to gain a lot, before the small-scale screening of various cities in China, the film also gained a good reputation, whether it is Hou Xiaoxian's royal editor Liao Qingsong's control of the film's own narrative rhythm and emotions, or the photographer Lu Songye's effective use of black and white images in this film, all of which have formed a natural self-consistency with the text and expression of this film. In 2016, when the art film market seemed to be showing signs of recovery, "Tharlo" even appeared in the annual Chinese 10 list of many film scholars and critics.

It is reported that "Tharlo" will land in domestic theaters during the year to meet more audiences, and while looking forward to this work whose word-of-mouth fermentation has lasted for a long time, for such a Tibetan film that is different from the aesthetic will of the mainstream market, what kind of publicity and distribution strategy the distribution company will adopt is also worthy of the attention of the industry and fans.