The literary era since 1979

On the day of the closing ceremony, the organizers usually issue admission tickets to certain film crews in advance.

There's a high chance you'll win a prize; if not, you might as well pack your bags and get out of here.

Well-received films like "Departures" and "Black Snow" unsurprisingly qualified for the main competition.

Keiko Matsuzaka, her face flushed and radiant, was gently tying Fang Yan's tie, letting him do as he pleased, touching him all over.

The sky was dark, and it was almost winter night. The temperature plummeted to several degrees below zero, and a dry, biting wind blew violently.

Keiko Matsuzaka learned her lesson this time, wearing long sleeves and a long skirt, bundled up in thick clothes, and even layered on a heat pack – she was really well-protected.

She linked arms with Fang Yan as they walked down the red carpet. Seeing the female stars shivering but still showing off their figures, she felt both admiration and sympathy.

Bonnie Beatrice, in particular, had a thin layer of frost on the exposed half of her back.

They quickly entered the theater with Kurihara Komaki, Takakura Ken, and others, took their assigned seats, and soon the theater was packed.

Then Moritz, as the festival's chairman, gave the opening remarks, succinctly stating that this year's Berlin Film Festival is the first since the reunification of East and West Germany, and he was honored to witness it with everyone present. He went on and on, but unlike a principal's speech at the start of a school term, he only spoke for a few minutes and then kept talking.

I listened patiently to the dialect and finally the jury appeared. Directors, actors and producers from various countries stood in a row on the stage. Each one of them was a leader in the industry. Of course, like the Cannes and Venice Film Festivals, the process was still extremely long.

There were no songs or dances, just headbanging and dancing, but lots of awards and various retrospectives.

It's just repetition, repetition, and more repetition.

It started with trivial trivia, like the Weekly Film Talent Awards, the Caligari Awards, and all sorts of other things.

These awards have nothing to do with dialects. Out of the corner of my eye, I glanced at Kurihara Komaki and saw her holding a pen, writing and drawing on a program booklet. I leaned closer to look and saw that the program booklet contained the list of films nominated for the main competition, and she was crossing out one name after another.

"What are you doing?"

"I'm crossing out the works that have already won awards."

Kurihara Komaki said in a serious tone, "Didn't Fang Yanjun say that the Berlin Film Festival is different from the Venice Film Festival? According to convention, it is not possible to win other awards in addition to winning the Golden Bear. Therefore, those who have just won awards are basically unable to compete with 'Departures' for the final Golden Bear."

Fang Yan said, "So, which of the remaining competitors do you think will be our biggest rivals?"

"First and foremost is 'Benmingnian' (the year of one's birth sign)."

Kurihara praised Jiang Wen's acting skills and Xie Fei's directing abilities, especially his affirmation and respect for Chinese films.

Fang Yan then heard the second answer, which was from the French director Costa Gavras's "Music Box".

Since this director is from France, he is naturally not a direct descendant of the Berlin Film Festival, but a true direct descendant of the Cannes Film Festival. His early film, "Focus News," won both the Jury Prize at the Cannes International Film Festival and the Academy Award for Best Foreign Language Film.

His later film, "Missing," won the Palme d'Or at Cannes, the same award as "Farewell My Concubine."

So if it weren't for his sudden emergence this year, Costa Gavras would be considered the biggest name at this film festival.

"Any more?"

Keiko Matsuzaka blinked.

"The third one is 'The Lost-Winged Sparrow'."

Kurihara Komaki said that this film was made by Czech director Jerzy Münzer in the late 60s and is adapted from a novel by Czech writer Bohumil Hrabal. Because it did not meet the film censorship requirements of the Red League, the film was banned for 21 years and was only unbanned due to the collapse of the Eastern Bloc last year.

The film itself is about a group of petty bourgeois who are sent to a dilapidated factory for "re-education," but they still find joy in their suffering. It is a dark comedy, but because of its strong political overtones, it just so happens to be a favorite of the Berlin Film Festival, which is known for its "political" content.

"Xiao Juan's analysis makes a lot of sense."

Fang Yan winked and said, "It seems you've put in a lot of effort."

"I only did some insignificant things, nothing compared to Fang Yanjun."

Kurihara Komaki has personally witnessed how hard he worked to promote and publicize "Departures" at press conferences, cocktail parties, and film festival trading platforms, actively pushing the film to media, distributors, and juries from around the world.

Keiko Matsuzaka looked at Fang Yan with a pained expression, but the ambiguous atmosphere was quickly broken by a series of applause.

Fang Yan watched as one person after another went on stage to receive an award, until the judges announced that "Benmingnian" had won the Outstanding Individual Achievement Award.

As is the rule at the Venice Film Festival, the Outstanding Individual Achievement Award is second only to the Golden Bear and the Golden Bear for Best Film, equivalent to the third place among all films in the main competition, which is also a testament to Xie Fei's reputation as a fourth-generation Chinese director.

A round of applause erupted, and Kurihara Komaki crossed the name of "The Year of My Birth" off the list.

Next up was Costa Gavras's "The Music Box," which won the Silver Bear for Best Film in the Cannes Film Festival.

The only competitor left is "The Lost Birds," because the film that was originally considered a potential rival or dark horse has either won the Best Actor and Best Actress awards or been awarded the "Best Director Award." So far, "Departures" has not won any awards.

"Huh, huh."

When it was time for the Golden Bear award, Keiko Matsuzaka took a deep breath.

Kurihara Komaki visibly tensed up: "Now we only have 'The Lost-Winged Sparrow' as our sole opponent."

Keiko Matsuzaka, however, was puzzled: "Didn't you say that 'The Lost Bird' was qualified to compete for the Golden Bear? But whether it's 'Departures' or 'The Lost Bird' that ultimately wins, doesn't that mean that the one that didn't make the cut didn't even get a Silver Bear?"

This is also the question that Fang Yan, Kurihara Komaki, and others want to ask.

After all, the Berlin Film Festival is known for its fair distribution of awards. Films like "Departures," "The Lost Bird," "Black Snow," and "The Music Box" all had the potential to win the Golden Bear. Now, "Black Snow" has taken third place, and "The Music Box" has taken second place. The two losing films don't need to be compensated with Best Actor, Best Actress, or Best Director awards, but surely the organizing committee won't even give them a consolation prize?

Just as everyone was wondering, Moritz walked onto the stage with a smile, opened the envelope, scanned the entire audience, and said without any suspense:
"The winner of the Golden Bear at the 40th Berlin International Film Festival is..."

"The Lost-Winged Sparrow!"

"And The Departures! Congratulations!"

This statement caused an uproar in the room. This year's Berlin Film Festival had actually produced a "double yolk" (two winners)!
There have been instances of "double yolks" (two actresses sharing the same role) at the three major European film festivals, and even "triple yolks" or "quadruple yolks." For example, in the film "Emilia Pérez," all four actresses who starred in the film won the "Best Actress Award" at the Cannes Film Festival.

The film "Eight Beauties" went even further, with the Berlin Film Festival awarding each of the eight leading actresses the title of "Best Actress."

But that all happened after the 21st century. In international film festivals of the 1980s and 90s, a tie was extremely rare. So everyone present was shocked. They stared at each other in disbelief. They had been regretting that one of the films, "Departures" and "The Lost Bird," had been rejected, but no one had expected this outcome.

Fortunately, Fang Yan was used to all sorts of situations and was the first to react. She gently touched the still dazed Matsuzaka Keiko and Kurihara Komaki, and then gave them each a big hug. Kurihara Komaki also came to her senses and excitedly took her best friend's hand, her eyes brimming with tears.

Keiko Matsuzaka couldn't stop smiling, repeatedly saying, "Yoga da (That's great)!"

Fang Yan looked left and right, and the entire "Departures" crew was overjoyed. Even the usually indifferent Ken Takakura excitedly contributed a series of exaggerated Japanese facial expressions, and did not show any dissatisfaction at sharing the Golden Bear award with "The Lost Bird".

After all, although Japanese films achieved a grand slam at European film festivals in their early years, with Akira Kurosawa winning the Golden Lion at Venice for "Rashomon" and the Palme d'Or at Cannes for "Kagemusha," the Golden Bear award dates back to "Bushido" in 1963.

After a full 27 years, Japanese films have finally won the Berlin Golden Bear Award again!
"Whoa whoa whoa whoa."

Amidst thunderous applause, Fang Yan buttoned up his suit jacket and led the creative team of "Departures" onto the stage.

The guests on both sides not only applauded, but also offered their blessings and cheers, especially when they passed by the crew of the TV series "The Year of My Birth".

Jiang Wen gave a thumbs up, "Teacher Fang, you are really awesome!"

"Yanzi, this is your birth year in the Chinese zodiac, and you've already had a great start before even New Year's Eve!"

Xie Fei cast an envious glance. Others may work hard in the film industry for many years and still not be able to win the Best Film Award at the three major European film festivals. But Fang Yan not only single-handedly tackled these difficult tasks, but also won three awards in three years, including the Oscar for Best Picture.

This is equivalent to achieving a grand slam of Western film festivals. This achievement is unprecedented and unparalleled in the history of Chinese film, or even Asian film. Perhaps only Akira Kurosawa, who was called the "Emperor of Cinema" in Japan, can be compared with it.

Is this the effect of a literary giant's overwhelming influence in the film and television industry?
Just as I was lost in thought, the casts of "Departures" and "Lost Bird" both took to the stage to receive awards.

Fang Yan, representing Moritz, accepted the Golden Bear trophy from him.

Moritz gave a meaningful smile: "Congratulations!"

"Thank you." Fang Yan vaguely sensed his and the Berlin Film Festival's sincerity towards Asian films.

Out of the corner of my eye, I saw that Ken Takakura, Keiko Matsuzaka, and Komaki Kurihara looked like uninvited guests who had stumbled into someone's private dinner party. They were awkward, fearful, humble, and looking up at me, completely showing that they had never seen the world before. This completely replaced the joy and excitement they had when they went on stage earlier.

"take it easy."

Fang Yan lowered his voice and reminded them, then he and the crew of "The Lost Bird" declined each other's offer.

After a few exchanges, Jerry Minzel, the director of "The Lost Bird," also became less reserved and took the lead in giving his acceptance speech.

Keiko Matsuzaka stared intently at the gleaming gold trophy in Fang Yan's hand, and heard him say:
"Who's going to give the speech later?"

"Of course it's you, Fangyan-kun!"

Kurihara Komaki blurted it out without thinking.

"The reason why President Okuyama and Chairman Kadokawa asked me to write the script for 'Departures' was to promote Japanese films, which had been dormant for a long time, to the world again and let Japanese films shine again. At this moment, it is best for you to step forward yourself."

Fang Yan glanced at Ken Takakura and Keiko Matsuzaka one by one.

Everyone praised his generosity and magnanimity. Kurihara Komaki then suggested that Takita Yojiro give his acceptance speech, since he was the director!
Yojiro Takita declined, saying he hadn't made much preparation beforehand and was afraid he would miss this great opportunity to promote Japanese films.

Fang Yan smiled and said, "Then let Xiao Juan have one too."

"I?"

Kurihara Komaki was taken aback. She was just a supporting actress. Being able to attend the Berlin Film Festival and stand on the podium with the crew was already a great honor. How could she possibly surpass the two leading actors, Ken Takakura and Keiko Matsuzaka, and steal this shining moment?
It's important to know that Japan has a very strict system of billing order. "Ichiban" is the actor who is ranked first. The greater an actor's fame and influence, the higher their billing order. Of course, being "Ichiban" is not easy. While enjoying the glory, one must also shoulder more responsibility.

If a TV series or movie has poor ratings or box office performance, the lead actor or actress will have to hold a press conference and bow in apology.

"Since it was Fang Yan Sang who personally requested it, then don't refuse."

Ken Takakura and Yojiro Takita, among others, share the same view.

"Go for it, Little Curly!"

Keiko Matsuzaka offered quiet encouragement to her best friend.

Kurihara Komaki wanted to refuse but didn't have time to, because Jerry Minzel had already finished speaking.

The first to speak was Yojiro Takita, and as he said, his acceptance speech was extremely brief: "Thank you to everyone who helped with this film. I am very happy. This is a new beginning for me, and I hope I can be here again."

Kurihara Komaki took a deep breath. The light above her head was so bright that it made her feel like she was in a beautiful dream.

Even after the awards ceremony ended, I was still in a daze, completely absorbed in the eloquent speech.

"Little Curly, I knew you could do it!"

Keiko Matsuzaka was full of admiration. Even though her best friend hadn't prepared at all, she was still able to talk non-stop without changing her expression.

"I have to thank Fangyanjun for giving me this opportunity."

Kurihara Komaki stared at Fang Yan's retreating figure, a complex look flashing in her eyes.

Keiko Matsuzaka winked mischievously. "So, how are you going to thank him?"

Kurihara Komaki's cheeks flushed slightly as she thought it over and over again. "I... I'll toast him a few more times at the next party."

"Is it just a toast?" Keiko Matsuzaka sighed softly. "Maki, are you still unwilling to prove your feelings?"

"What nonsense are you talking about!" Kurihara Komaki was flustered.

“Isn’t that right?” Keiko Matsuzaka said. “Others might think you’re not getting married because of your acting career, but I know…”

Kurihara Komaki bit her lip. "Keiko!"

"I don't want you to continue like this, Little Curly."

Keiko Matsuzaka cast a meaningful glance at her. "Do you need me to grant your wish?" (End of Chapter)