Huayu: Are you even sitting up straight? You're going to be the director?

Chapter 62 Cao Zhong Discusses the Dao!

Cao Zhong's T-shirt featuring Arthur training dogs instantly sparked a media frenzy.

I know Cao Zhong is good at creating topics and making things exciting, but... this is too exciting!
It was so stimulating it made my whole body go numb!
Many journalists were filled with joy for a moment.

Dinner's almost ready, everyone!
If this weren't a front-page headline, it would be a disservice to the opportunity Cao Zhong gave everyone!

Cao Zhong slowly walked across the red carpet, but stopped because of the reporter who had just asked a question.

He frowned, his eyes showing displeasure.

"Why are you talking about Director Jia? Why are you slandering me for criticizing Director Jia? I've always been criticizing a senior from a certain literature department."

Your question is excellent. I've been busy with my film lately and didn't know that Director Jia's new film had been selected for the Venice Film Festival again.
I want to congratulate him! I congratulate him on being such a shrewd businessman, selling copyrights and making a fortune!

Cao Zhong's eyes were full of enthusiasm, "I wonder if this movie is badmouthing our country, otherwise it wouldn't have won an award!"

Upon hearing this, everyone around the red carpet fell silent.

Yu Dong swallowed.

Wang Zhonglei's eyes, on the other hand, were filled with the look of someone watching a show.

The reporters' eyes gleamed.

Big news!
"Director Cao, as a student of the Beijing Film Academy, do you also think that some of the criticisms of Director Jia, saying that he is praised by the West because he criticizes China, are correct?"

Cao Zhong took the microphone from the reporter.

"Today is the premiere of 'Nanjing Photo Studio,' and I shouldn't be answering your question, but I'd like to take this opportunity to have a good chat with everyone."

Cao Zhong glanced at all the media around the red carpet and directed the reporters, "What are you standing there for? Take notes!"

Many journalists only realized what was happening at this point.

Cao Zhong spoke up:

"Director Jia, hello!"
As a highly sought-after director in Europe, Jia's films are all big hits and receive rave reviews.

I'll just use the main competition as an example: 2000, "Platform," nominated for the Venice Golden Lion, was banned.

In 2002, "Unknown Pleasures" was nominated for the Palme d'Or at Cannes but was banned.

2004, *The World*, nominated for the Venice Golden Lion, is a film filled with art, humanity, helplessness, hardship, depression, death, and gloom, almost devoid of any bright colors.

Cao Zhong clapped his hands. "Have you noticed a problem? Why are their artistic aesthetics, their main competition selections, and their styles almost identical, seemingly coincidentally so?"

Director Jia is very clever; he has found a shortcut to wealth.

And they chose an excellent topic: the Three Gorges Dam project, and then, naturally, came the golden lion!

Cao Zhong looked at the reporters and said, "What are you standing there for? Clap your hands!"

Some reporters instinctively followed Cao Zhong's lead, only to find themselves momentarily at a loss.

Cao Zhongdao:
"I have never said that I was kept by someone. Some people online have done it, Zhang Weiping did it."

I'm just curious. Why are all the Chinese art films that get selected, under the guise of art, morally degrading, stereotypical, and devoid of positive emotions? Are the judges simply used to being fed ugliness?

I watched the movie "Getting Home," and it was great. It's the best Chinese road movie, bar none. As for its artistic merit, yes.

Can we get into the main competition? No.

Why? "

Cao Zhong looked around at everyone and gave his conclusion.

"Because this film depicts the warmth and coldness of human relationships, and personal predicaments, while the protagonist perseveres, shows courage, and has love and hope for his hometown amidst these predicaments. Moreover, it does not involve any issues related to the historical context."

You can judge Jia Zhangke's films for yourselves.

Cao Zhong smiled and said, "I think many people always mention the Three Greats and take pride in them, but it seems that no one is willing to give the Chinese people a free gift."

"What's free is often the most expensive."

"So in gaining something, it seems that something is also lost."

Cao Zhong looked at the reporter and sighed: "What was lost? I don't know! But my senior from the literature department got the bone! He was eating it with gusto! Some people even shouted with him, 'It smells so good!'"

At first, Cao Zhong's remarks seemed to be calm descriptions, but later on, his words were no longer sarcastic.

Instead, they bombarded it directly!

The reporters felt a tingling sensation all over their bodies!

Cool!
So cool!

So cool!
From Arthur training dogs to people fighting over bones.

In a short period of time, Cao Zhong presented the reporters with two great gifts!
The reporter who just asked the question couldn't help but tremble.

"Did I just dig up a huge scoop? Bonus! I'm getting a bonus!"

The crowd was also filled with shock!

"Director Cao Zhong, if what you say is true, that Jia's criticism is his deliberate attempt to vilify China, then how do you evaluate their assessment of 'Nanjing Photo Studio'? Are you peddling suffering, profiting from patriotism, and taking advantage of national calamities? What's the difference between you and Director Jia?"

Suddenly, a reporter asked an explosive question.

For months, this topic has been hotly debated online, but Cao Zhong has never responded proactively.

People like Jia Zhangke and Su Mu have finally met their end.

Now that such a good opportunity has come up, the reporter will certainly not let it pass.

Cao Zhong, still holding the microphone, greeted the reporters who had asked questions.

"I appreciate your question, but please, don't compare me to Rongguang. I'm not worthy!"

After Cao Zhong finished speaking in a sarcastic tone, his gaze turned solemn.

"But before I answer what makes this film different, I need to introduce a few concepts first."

You know about squid, right? You know about those inhumane atrocities, right? Many of you here have probably seen movies about the suffering of squid. They're so evil! How can they profit from suffering?!

The reporter was speechless at Cao Zhong's answer.

But Cao Zhong didn't target the reporters; instead, he looked at everyone.

"China's fourteen-year War of Resistance against Japan made it one of the first countries to initiate an anti-Japanese war during World War II, while the West has consistently emphasized the six-year duration of the war."

During the War of Resistance against Japan, more than 3500 million Chinese soldiers and civilians were killed or wounded, and two-thirds of the Japanese army's forces were tied down for a long period of time. However, in the "Global History", our contributions and the historical significance of the main battlefield in the East have been selectively ignored and downplayed by the "mainstream".

The historical concept of 'Western centrism' has completely marginalized the efforts of our Chinese ancestors.

Historical narratives are dominated, moral rights are stripped away, and the right to interpretation is completely ignored.

"Nanjing Photo Studio" is a way to remember, to commemorate, and to prevent forgetting.

But more importantly, it is our defense of our moral rights and right to interpretation!
Today's peace and prosperity stem from the sacrifices and perseverance of countless individuals in the past. The sacrifices of the Chinese nation far exceed the content of countless "Nanjing Photo Studios".

If they can take pictures, so can I.

I don't sell suffering; I want everyone to remember the relentless struggle that took place in the distant East and Asia back then.

These battles must not be forgotten by the world.

Cao Zhong continued, looking at the reporters: "You might ask me, do I also want to show this to the West?"

"Yes, I want the whole world to see it."

As long as they want to see it.

But I don't feed the judges with morally base, stereotypical, or negative emotions.

I want our moral right and right of interpretation to generate an undeniable voice, even within the framework of film commercialization.

"I want to sound the charge for independent storytelling in Chinese cinema!"

(End of this chapter)