Director of Photography Department of Huayu

Chapter 161 Director Wu, let’s go for the Oscar together next year

Not far away, reporters and media submitted their premiere ratings. A reporter from Screen magazine submitted his premiere rating:
3.5 points!
Outside the Cannes Film Palace, the first group of professional moviegoers filed out.

The next day, the reviews from global media, film critics and audiences had spread throughout the small city of Cannes.

The French magazine Cahiers du Cinema wrote in a column:
“This is a breathtaking psychological thriller that not only challenges the audience’s cognitive boundaries, but also reveals the deep-seated problems of society with its ingenious conception.”

"Wu Chen is not catering to Cannes, he just takes a scalpel and dissects the bones of our seemingly civilized world" - Cultural Column of Le Figaro.

Many film critics even wrote long paragraphs to expose the racial trauma in the United States through Wu Chen's films. The films were straightforwardly political and pointed directly at the structural racism in American society.

The article also mentioned the strong resonance among black audiences, saying that the film "ignited global dialogue."

Of course, there are also some criticisms. For example, French film critic Michel Simon bluntly said: "The film is sharp, but too American. The direct criticism lacks artistic subtlety."

It seems to be a direct criticism of the lack of artistic subtlety, but in fact it means that the author feels that the film is not deep enough.

However, the low budget and thriller genre of "Get Out" stood out at Cannes with its racial satire and social criticism themes.

Early in the morning, on the breakfast tables of hotels in Cannes, newspapers in almost all languages ​​had the headline of "Get Out".

["Get Out," a thriller from an Eastern director!]

[Behind the fear lies a gaze into the depths of society! ]

[Cannes thriller breaks through: a Chinese director's victory! ]

【.】

The average media rating was 3.1 points, and the average audience rating was 3.3 points.

For Cannes, this is the most eye-catching and most responsive film among the current series of mediocre competition films in Cannes.

When attending the premiere of "Marie Antoinette", Wong Kar-wai and others were asked by domestic media reporters what they thought of Wu Chen's "Get Out".

As the chairman of the jury, Wong Kar-wai was cautious in his response: "I and the jury members have all seen Director Wu's Get Out, and everyone's response has been very enthusiastic. The final result will depend on the judges' opinions."

The news from the domestic side will be late, but not for long. After one night, the heated discussion about Wu Chen's film premiere in Cannes has already been posted on major portals and some blog forums.

I don’t know which media outlet took a few more pictures of black audiences and reporters crying.

The hot post on Tianya Forum, "Wu Chen's Cannes bomb! Black brothers burst into tears," was flooded with comments.

"It's really a realistic film. I wonder if Wu Chen is just using Hurricane Katrina from the US?"

"Director Wu is quite ruthless. Thrillers and horror films can easily seem out of place if other elements are added, but it seems that Get Out doesn't have that feeling. I really want to see what the finished film looks like."

At the same time, the late-night column of "Movie Channel" also began planning a special issue "Wu Chen and the New Thriller Wave", inviting Zhang Yang, Jia Zhangke and others to record the program.

After the premiere, Wu Chen was much more relaxed. He and Jason Blum were in an open-air restaurant, wearing sun hats and drinking coconuts, looking particularly comfortable.

"Get Out" continued to screen in other theaters of the Cinema Palace. Several large theaters had to be used for screenings in the competition unit, but every show was still a hit.

This film has a certain commercial value, but it is not as obscure as other films in the main competition unit. It also contains social criticism and is the most suitable film for the general public to watch.

"What a pity! If we sell the copyright of our movie now, it will definitely be much more expensive than 'Buried'." Jason Blum lay on the chair with a regretful tone, but his face was full of excitement.

The greater the response that "Get Out" caused in Cannes, the easier it would be to discuss returning to Hollywood, because the research departments of the seven major Hollywood studios are no pushovers. They probably had already figured out the value of this film before Wu Chen even arrived in Hollywood.

"You can start contacting Warner and Universal." Wu Chen suggested, looking at the beauty on the beach not far away.

"Of course, as you Chinese say, strike while the iron is hot."

Jason Blum said cheerfully.

Wu Chen smiled faintly.

Back home, at the Beijing Film Academy, Mu Deyuan couldn't help laughing in Zhang Huijun's office while holding his polished report.

Zhang Huijun also didn't expect that Wu Chen would actually make a movie full of social thoughts, and it directly pointed at the racial issues in the United States.

What is Cannes?
Now to look forward to the Oscars!

"This report needs to be updated. The problems revealed in the movie need to be written down." Zhang Huijun couldn't suppress the curve of his lips when he said this.

"No problem!" Mu Deyuan didn't mind writing a new one at this time.

In another office, teachers from the acting department were also discussing the matter.

"This is indeed Wu Chen's best genre film since his debut. Can he win an award at Cannes?"

“It’s hard to say about Cannes, but the school may have the third director who can compete for an Oscar,” Wang Jinsong said with emotion.

"It would be great if this movie was played by actors from our department." Cui Xinqin couldn't help but look forward to it.

“It’s not that easy.

Didn't the key actors in the final film of Wu Chen's horror trilogy use people from our department? I heard that the film has two most important roles. By the way, Zu Feng, the acting director is yours. How is the film? Has anyone told you anything about it?

After these words were spoken, Cui Xinqin, Wang Jinsong and others couldn't help but look over.

Zu Feng smiled and shook his head when he heard this: "The film is still in the confidential stage, I don't know, but what is certain is that the quality is very high. My husband works hard to teach him every day."

At this time, Wu Chen received a call from Han Sanping on the beach in Cannes, with a hint of reluctance for not being selected.

"Why didn't you tell me about the project earlier? China Film Group could also participate."

"Mr. Han, if China Film Group gets involved, this movie will be in trouble." Wu Chen smiled when he heard this.

The nature of this film is destined to be registered in the United States, and both Obsidian Pictures and Blumhouse Pictures are registered in the United States.

If China Film Corporation, which has a state-owned background, were to intervene, even for some reasons, some Oscar competitors would come out to disrupt the situation, and that would no longer be a right or wrong thing to do.

Han Sanping also understood and sighed. He felt as if the Oscar he had been dreaming of had just slipped past him.

On the 22nd, the promotion conference for "Night Banquet" was held in a grand manner. There was even a beach cocktail party after the promotion conference. It was clear that everyone had learned the gameplay of "The Promise".

Wu Chen arrived as scheduled. He took a quick look and saw that many film producers had been invited, including some who were acquaintances of Wu Chen.

Feng Xiaogang was very happy about Wu Chen's arrival. No matter what, it also increased the popularity of "Night Banquet", so he excitedly invited him to sit in the front row.

The domestic reporter seemed quite surprised and quickly stepped forward to ask, "Director Wu, in recent years, the main genre of Chinese films that have impacted the international market has been costumed martial arts films. Do you think "The Banquet" is following this trend?"

Good man, he dug a big hole.

Wu Chen looked at the NetEase reporter deeply. Damn, you want me to criticize Feng Xiaogang as soon as I get here, right?

Feng Xiaogang almost wanted to yell at the reporter, "Damn it! How can you ask questions like that? This is an international stage, and you're asking me like that? What if Wu Chen doesn't give a good answer?

Wang Zhonglei was about to dismiss this question when Wu Chen spoke first:

"I think it's difficult to avoid the issue of similarities in film genres. It's not possible that just because directors Zhang Yimou, Li An and Chen Kai have made costume dramas, other directors can't make them, right?

The most important thing is the story itself.”

Wu Chen's answer almost brought tears to Feng Xiaogang's eyes. He felt that Wu Chen was much more pleasing to the eye than before.

"Okay, thank you Director Wu." Seeing that Wu Chen was not tricked, the reporter stopped talking.

Feng Xiaogang glanced at the packed press conference and, full of confidence, opened a long trailer for "The Banquet."

A strong Shakespearean style of dialogue comes over me.

Wu Chen looked at him expressionlessly. For some reason, Zhou Xun, Zhang Ziyi, and Feng Xiaogang would subconsciously glance at Wu Chen.

Seeing that Wu Chen didn't frown, Feng Xiaogang felt relieved.

After the 20-minute-long trailer was over, several foreign reporters suddenly shouted:

“The Banquet is the best Chinese film in recent years!”

"Excellent!"

"."

Although some film producers still have reservations, they say that costume films have saturated the eyeballs in the past two years and still need to be judged. However, the Shakespearean style of "The Banquet" is worthy of recognition. It is a female version of "Hamlet" and they are more interested in it.
These words immediately made Feng Xiaogang and Wang Zhonglei overjoyed.

The domestic reporters watched for twenty minutes and didn't understand anything. After all, it was only part of the movie, so they could understand it. But after the foreign reporters got involved, they started asking Feng Xiaogang questions about Shakespeare's plays and classical literature.

"We have been working on this for a long time. What I have always stressed to Tim Yip and others is that we must reject nationalism and uphold classicism. The general audience may not understand this, but it doesn't matter. It doesn't matter if they don't know.

I studied Chinese painting and have always been very familiar with Chinese visual elements, but I just never had a suitable subject to depict it. Now I have one."

Feng Xiaogang appeared particularly confident in the flattery.

After answering the reporter, he came over to talk to Wu Chen: "Director Wu, what do you think of my movie?"

Wu Chen saw Feng Xiaogang's delighted look and didn't want to pour cold water on him:
“Director Feng is worthy of his background in traditional Chinese painting, and the visual effects are indeed good;
The film has a strong sense of classicism, and the Shakespearean style of dialogue is even more ingenious. It not only retains the profound sense of drama, but also injects cross-cultural resonance into the film, which is refreshing.

It’s just that the language is too flowery, and I feel a little uncomfortable with it. It may not suit our own habits.”

Feng Xiaogang originally thought that Wu Chen's flattery was intentional, so he had to be careful. However, Wu Chen later pointed out the shortcomings of the movie, which made Feng Xiaogang feel more at ease.

"Oh, it's just a small problem, not worth mentioning!" Feng Xiaogang waved his hand confidently.

"Hamlet is well-known to everyone, and there is also a cultural reserve of this kind abroad. I am preparing this for the international market, otherwise people won't understand it. It's just a small sacrifice."

"Well, as long as Director Feng has confidence!"

Well, just like Brother Chen Kai before the release of "The Promise", Feng Xiaogang was obviously immersed in his own world.

Feng Xiaogang couldn't help but think of "Get Out" which he had seen the day before yesterday. It was obvious that Wu Chen was aiming for an Oscar.

He also has this ambition.

Thinking of this, Feng Xiaogang laughed and patted Wu Chen on the shoulder: "Director Wu, maybe next year's Oscars will be just you and me."

When Wang Zhonglei came back from communicating with the film producers, he was stunned when he heard this.

Why does Wu Chen think so highly of the movie?

Is Feng Xiaogang dreaming of an Oscar?

Although Huayi is preparing to submit "Night Banquet" for the Olympic Games, it is not sure about it.

Just seeing Feng Xiaogang's confident look and thinking of the group of reporters who had just praised "Hamlet" and Shakespeare, Wang Zhonglei also felt relieved.

Wu Chen didn't expect that just two simple words from him could make Feng Xiaogang so confident.

He didn't understand where Feng Xiaogang's confidence came from.

"Director Wu, we have a cocktail party on the beach, please do us a favor." Wang Zhonglei took the opportunity to get closer to Wu Chen. Isn't that how friendships are formed?

"Yes, yes, there is also a beach cocktail party, Director Wu, you must come." Feng Xiaogang also strongly invited.

"Forget it, I really have something to do." Wu Chen really didn't want to attend the beach cocktail party. It always came down to the same thing as "Night Banquet".

Seeing that Wu Chen was determined to leave, Wang Zhonglei and Feng Xiaogang gave up as well.

The domestic media who were still packing up their equipment saw this and looked at Wu Chen's background curiously. They asked Feng Xiaogang:
"Director Feng, your relationship with Director Wu."

Feng Xiaogang was in a good mood and didn't bother to argue with the reporters: "Director Wu and I have always had a good relationship. It's only because of you reporters confusing things that it looks like there's a conflict."

(End of this chapter)