Chairman of the Jury Committee of the Golden Jue Award: If you can't make high-quality movies quickly, you must burn your passion

Taking the China film market as an example, there are quite a few films that have been rapidly completed in recent years. A number of variety shows under the banner of "movies" were moved to the big screen, and it took only dozens of days from filming to production. Famous director Feng Xiaogang once publicly criticized this type of movie. Kusturica believes: "A good movie must be able to burn the audience's emotions and give the audience a sense of identity with the characters in the story. The audience must have a connection with the director, screenwriter, and photographer's narration of the story, and their understanding of beauty."

"Fifty years ago, you couldn't say movies were products, but now movies have become a product. We are all talking about box office now, and no one talks about the meaning of movies." Emir, Chairman of the Jury of the 19th Shanghai International Film Festival Golden Jubilee Award. Kusturica said regretfully at a media conference held on June 12.

According to this talented director who is famous at the three major film festivals in Cannes, Berlin and Venice, the rapidly developing film market driven by the giant capital wheel has "changed too fast." Kusturica's sigh is not unreasonable. Taking the China market as an example, according to the "Global Entertainment and Media Industry Outlook 2016 - 2020" report released on June 12, China's film box office revenue is expected to surpass the United States in 2017, reaching US$10.3 billion and becoming the world's largest ticket position.

The reporter noticed that behind the rapid growth of box office,"production-oriented" movies are gradually drifting away from their authenticity. When box office becomes the primary indicator of the success of a movie, how can we return to the essence of the movie?

"A good movie must burn the audience's emotions."

In 1981, at the age of 27, Kusturica won the Best First Film Award at the Venice Film Festival and the São Paulo International Film Festival Film Critics Award for her feature film debut "Do You Remember Dory Bell". In 1985, he won the Palme d'Or at the Cannes Film Festival for "When Dad went on a business trip" and was also nominated for the Academy Award for Best Foreign Language Film. In 1995, with the three-hour macro film "Underground", he once again won the Palme d'Or crown at the Cannes Film Festival.

Even with decades of experience, Kusturica still marvels at the rapid changes in today's film market: "Everything has changed, the audience has changed, and the perception of beauty has also changed." Behind the changes is the lack of authenticity of the film.

"Filmmakers in the past were influenced by Aristotle's aesthetics. Everything that happened in real life had a metaphysical meaning. Filmmakers transformed this meaning into films. By watching movies, the audience can understand this emotional meaning., and now there are no Aristotle's aesthetic rules." Kusturica believes that the film market, which lacks the "metaphysical" process, has become a product of "short frequency and fast".

Taking the China film market as an example, there are quite a few films that have been rapidly completed in recent years. A number of variety shows under the banner of "movies" were moved to the big screen, and it took only dozens of days from filming to production. Famous director Feng Xiaogang once publicly criticized this type of movie.

Kusturica believes: "A good movie must be able to burn the audience's emotions and give the audience a sense of identity with the characters in the story. The audience must have a connection with the director, screenwriter, and photographer's narration of the story, and their understanding of beauty."

"Filmmakers should return to the true nature of films."

In addition to concerns about the rapid development of the film market, Kusturica is even more helpless about the current "production-oriented" films."Unfortunately, films have become a kind of products." Products, everyone started to talk about box office, but no one talked about the significance of films."

What cannot be ignored is that when a movie becomes a product, whether it can produce commercial value becomes the focus of the market, and the intuitive box office becomes a yardstick for measuring its merits and disadvantages. In Kusturica's view, these have lost the "authenticity" of the film.

"Movies actually have a lot of idealism in them, but now if you say you are an idealist, people will say you are stupid. We should not lose hope for movies. Young filmmakers should return to the authenticity of movies." Kusturica said.

With the rapid development of China films, it is even more necessary to return to their "authenticity." Relevant reports pointed out that China is currently the world's second largest box office market. Current development trends indicate that China will overtake the United States in 2017 and become the world's largest movie ticket warehouse. By then, the box office of China films will reach US$10.3 billion, while the U.S. film market is expected to receive US$10.14 billion in box office revenue in 2017.

"The box office has no way to represent the quality of the film." Kusturica believes that filmmakers should not lose the essence of film, and that young filmmakers should return to the moral and aesthetic level.

Editor: yvette