9/3/2023 0 Comments Youth collaboratory facebook![]() The festival’s focus on shorts is designed to entertain the audience, but to also inspire them, and you could witness young filmmakers mingling with young fans in the bars and nightclubs that fringe FIFF’s outdoor screen in Xining’s GuaoZhang Square entertainment and dining district.Įarly award winners across the week included the gripping documentary Nest, a film that follows the fortunes of a man whose once-comfortable family has fallen on hard times. ![]() ![]() Wuershan is one of many established stars in China to have forged a deep connection with FIFF and its efforts to encourage the country’s younger generations to enter the industry. The film - based on the classic Chinese text Fengshenyanyi - has so far collected some $156 million after 11 days and there were plenty of stars in the audience for a special screening, with the likes of Song Zhongwen paying homage to both the director and the film’s much-loved star, the 80s heart-throb Fei Xiang (aka Kris Phillips). There was also a high dose of red-carpet glamour with the appearance of director Wuershan and the stars of his current domestic box office leader Creation of the Gods I: Kingdom of Storms, a fantasy epic the studio claims took about 10,000 people about 10 years to make and one the Chinese film industry as a whole hopes will shape the future of the country’s blockbusters in terms visual style and quality - and box office returns. While FIFF’s primary concern is emerging talent, there was also time to celebrate the past, with a selection from China’s “Fifth Generation” of filmmakers on show, including a rare public screening of the Mi Jiashan comedy The Troubleshooters from 1988, and one of Bernardo Bertolucci’s The Last Emperor (1987), a nice touch given Chen was in town and many in the audience would never have seen the Oscar-winner on a big screen before. It sees a married woman talking about her various affairs and how she sees her role as wife, mother and woman in contemporary China, and the director Alan said she wanted to leave her audience questioned what was real in the movie and what was invented. The festival’s inspired First Frame program and competition focuses on the work of female directors or stories about women and its main award went to the quasi-documentary This Woman. Every year, FIRST gathers movies by young people and with wisdom, attitude, and with the shining light of thought, this makes watching movies meaningful.” “Movies reflect real life and will also affect our lives. “Communication knows no boundaries,” said Song. There were Q&A sessions with the audience that often ran well into overtime, such was the enthusiasm shown for everything from a gritty but life-affirming three-hour drama about a migrant woman trying to forge a life in a big city (Qin Tian’s Fate of the Moonlight) to a six-minute short that sees a young boy who’s made out of paper have nightmares about scissor men coming to get him (Zhou Shengwei’s Perfect City: The Bravest Kid).įestival founder and head Song Wen walked away happy that the event “continues to discover and cultivate more powerful storytellers, and to help young filmmakers turn these stories into reality.” There were 98 films screened across the festival’s nine-day run, 27 features and 71 shorts among them. ![]() ![]() They travel in large numbers to the city of Xining, set in China’s mountainous central region, fringing the Tibetan Plateau, and they really do feast on the program of independent films. Fittingly, then, the event is attended by a predominantly young audience. In the end, it was always going to come down to those youngsters.Ĭhina’s FIRST International Film Festival, which has now 17 editions, prided itself on providing a platform on which the county’s next generation of filmmakers can reveal their talent. ![]()
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