Huayu: From charlatan to great entertainer

Chapter 590 Liu Yifei: The plan has changed, we're preparing to win the championship!
Riding the wave of success of "Ball Lightning," which grossed over 130 million RMB in its first week in North America and 70 million RMB on its first day in mainland China, the creative team of "Ball Lightning" did not stop there and arrived at Incheon International Airport in South Korea on the morning of July 3rd, Beijing time.

At 8 p.m. that evening, the area outside the IMAX theater of the CGV Yongsan Cinema in Seoul was already packed with enthusiastic movie fans and media. On the huge Korean poster for "Ball Lightning," Zhou Xun, who plays Lin Yun, has a determined gaze, with a storm of dark blue particles behind her, creating a visually striking image.

Fans held up signs written in Chinese and Korean: "Director Lu Kuan, welcome to Korea!", "Ball Lightning, the light of Asian science fiction!", "Lin Yun, we love you!" The atmosphere was as enthusiastic as a top K-pop concert.

The roadshow was of a very high standard, and the organizer, CJ Entertainment, did a great job as the host. Because of the previous success of "The Sky of History" in South Korea, the public has a greater appreciation for this Chinese director.

Following the success of "Sky" two years ago, DC Inside, South Korea's largest online forum, launched a poll: "Which other South Korean director do you think can make an epic work of the same caliber that reflects the trauma of their nation during World War II?"

As a result, 78% of South Korean movie fans chose "none," while the remaining choices, from highest to lowest, included Park Chan-wook, Bong Joon-ho, Lee Chang-dong, Kim Ki-duk, and others.

Behind this result lies a profound self-examination within the South Korean film criticism community, with renowned film critic Kim Yong-ok offering a sharp analysis in his column:

He believes that this is not due to a lack of talent or subject matter among South Korean directors, but rather to the difference in narrative structure and aesthetic realm when dealing with the deep historical trauma of their own nation.

Kim Yong-ok points out that South Korean filmmakers have not been without attempts to depict their own nation's WWII tragedies.

Conversely, works such as *Spirits' Homecoming*, which deals with the theme of comfort women, and *Assassination*, set against the backdrop of Japanese colonial rule, have garnered social attention. However, these works are often trapped in two narrative modes:

First, like "Spirits' Homecoming," it focuses on tearful accusations and emotional catharsis. The emotions are sincere, but it is easy to get caught in the vortex of emotions and find it difficult to extricate oneself. It constructs a more grand and calm epic perspective.

Secondly, while highly stylizing historical events and incorporating commercial elements enhances their appeal, it also diminishes the solemnity and weight of history to some extent.

Lu Kuan's "The Sky of History" offers a completely different model in Jin Rongwo's view.

What makes it so impactful to South Korean film fans is its epic restraint that transcends national tragedy and reaches the level of universal human tragedy. Ro Kwon does not indulge in the display of misery or the incitement of emotions, but rather uses an almost solemn and compassionate cinematic language to quietly examine the fate of individuals against the backdrop of a grand historical catastrophe.

Such narratives require not only respect for historical facts, but also a profound cultural foundation and authorial magnanimity capable of bearing immense sorrow and elevating it to artistic power.

Perhaps he didn't express such a sorrowful self-reflection as "a small country with few people," but undoubtedly, South Korean film fans desperately hope that South Korea can have a director like Mr. Roh, although it's probably a bit too late to investigate his ancestry now.

This is why "Ball Lightning" had a very successful opening in South Korea, attracting considerable discussion among moviegoers on the night of its premiere.

At the red carpet ceremony, many heavyweight figures from the Korean film industry appeared, with directors Park Chan-wook and Bong Joon-ho, who have close personal relationships with Roh Kwan, arriving first.

After a warm greeting, Park Chan-wook, speaking in a Busan accent, said in English: "Director Roh, after watching 'Ball Flash' in Cannes, I've been thinking about your approach to scientific imagery."

His eyes sparkled with creative inspiration. "The kind of narrative that intertwines quantum states with the fate of characters reminds me of the 'Stoker' that I'm currently preparing, how to use visual language to express the dark inheritance lurking in the blood."

Lu Kuan smiled knowingly: "Old Boys is about how violence can bloom into an aesthetic flower in a closed space. You should make full use of your long takes and symmetrical composition. I look forward to seeing the finished film."

“Sometimes I envy Korean directors for their freedom of expression.” He paused, then looked at Bong Joon-ho: “The ethical dilemmas unique to East Asia in your works actually inspired me a lot in shaping the moral struggle of the character Lin Yun.”

Bong Joon-ho, who had just finished post-production on "Mother," also joined the conversation. He adjusted his glasses and spoke in a humble and gentle tone: "Actually, from my perspective, using macro electronics as a metaphor for the invisible barriers between social classes is also a great play. This film is truly refreshing every time I watch it, and I'm going to study it again today."

Boss Lu laughed and said, "Perhaps only you have this perspective."

Park Chan-wook nodded in agreement: "Director Roh demonstrated his ability to visualize historical trauma in 'A Home Away From Home,' and this time he has transformed scientific concepts into social allegories. This symbolic approach is something we should learn from."

He turned to his fellow Koreans: "Junho's 'The Host' is a masterpiece that combines genre film with social critique, while director Roh Moo's 'Ball Flash' depicts the unity of opposites between technology and humanity. You are both amazing!"

The three directors' conversation deepened as they walked along the red carpet, ranging from Akira Kurosawa's narrative rhythm to Shohei Imamura's folk imagery, and then to their shared appreciation of Hou Hsiao-hsien's long-take aesthetics. This was a sincere artistic exchange among East Asian filmmakers, drawing a barrage of questions from the media present.

Comparatively, because they share the same Confucian cultural system, Lu Kuan's communication with Japanese and Korean directors is smoother, and his reflections on social pressure and human nature in his films are more easily understood by Japanese and Korean audiences.

"Director Lu, you've arrived."

When Boss Lu turned around, it was Tang Wei, whom he had arranged to develop her career in South Korea.

The mainland actress who was softly banned two years ago looks to be in good shape. She is wearing a neatly tailored pearl gray satin dress with no excessive decoration, which makes her figure look even more slender and her temperament calm.

The storms of the past seem to have settled into a more restrained strength within her. Her makeup is simple, and the naivety and unease she showed when she first entered the world of fame and fortune have faded, replaced by a sense of clarity and composure.

"You're here?" Lu Kuan looked Tang Wei up and down. "I was just talking about you with Park Chan-wook. When will 'Late Autumn' be released?"

This refers to a South Korean romance film directed by Kim Tae-yong, a remake of the 1966 classic film of the same name directed by Lee Man-hee. It tells the story of Anna, who is granted a three-day parole after her mother's death. On a long-distance bus to Seattle, she meets Hyun Bin, a South Korean man who is in trouble. The two strangers embark on a brief but profound emotional journey in a foreign land.

Tang Wei looked at the "teacher" with a respectful and grateful attitude, who had suggested to her two years ago that she go to the United States to further her acting studies and reflect on her experiences.
"It will premiere at the Blue Dragon Film Awards in South Korea in November, and then be released in Asia."

"I just got back from filming in Seattle. I didn't know you were also filming 'Ball Flash' in Seattle, otherwise I would have gone to visit the set."

She suddenly seemed to remember something, turned to look at her assistant not far away, and said, "Director Lu, I have obtained Director Kim Tae-yong's permission to bring the rough cut version. If you have time, could you please take a look at my performance now..."

Mr. Lu waved his hand, indicating that she should stop. "He and Park Chan-wook came to the hotel to see me last night and left a DVD. I'll take a look at it on the plane to Japan tomorrow."

Tang Wei visibly became excited: "Yes! Thank you!"

In a sense, she is still a contracted actress in the industry, and has been completely arranged to develop her career in South Korea.

In her previous life, Tang Wei went to England to study after experiencing turmoil, but her major was Shakespearean drama, which was of little benefit to her acting in films compared to the American method acting training. In this life, with Boss Lu's precise planning and the strong support of Wenjie Resources, at least her trajectory in improving her acting has been rewritten.

The art film "Late Autumn," which perfectly suits her, is still not to be missed. In her previous life, she not only won the Best Actress award at the Blue Dragon Film Awards for this film, but also won the Best Actress award at the Baeksang Arts Awards, becoming the first foreign actress in the Korean film industry to achieve a grand slam of major awards.

This film sparked a phenomenal viewing frenzy in South Korea. Her portrayal of Anna, a silent yet story-filled character caught in an emotional vortex, possessed a unique Eastern charm and a sense of fragility, deeply resonating with the aesthetic preferences of South Korean audiences.

After falling in love and marrying a South Korean director, Tang Wei's career took root in South Korea, where she gained even greater international recognition and fashion endorsements than many of her contemporaries in China.

Tang Wei didn't dare to waste his time, but the actress, still filled with anxiety about the future, couldn't help but ask before the big boss left: "Director Lu, can I...can I still go back to China to develop my career?"

Lu Kuan paused slightly, turned his head, and chuckled softly, "What are we going back for?"

His gaze swept over the bustling red carpet not far away, his tone as calm as if he were analyzing market data, "What's the situation in China right now? What route are you planning to take when you go back? It's pointless."

Tang Wei's lips moved but she didn't make a sound. It wasn't that she hadn't noticed the recent strategic cooperation between actresses under Wenjie and Kering, the world's third-largest luxury goods group. It's just that she, who was "wandering in Ningguta", was probably not even in his consideration.

Knowing her current state of mind, Boss Lu patiently persuaded her, "The Korean market recognizes your appearance and temperament. Here, you are 'Tang Wei-xi'. In the future, you can win a Blue Dragon Award for Best Actress and establish yourself. Wouldn't it be more comfortable to compete with those female stars in China who are promoted by coal mine owners with their money?"

He knew Tang Wei was a stubborn and inflexible person, so he revealed some information: "You saw the controversy that the Korean wave caused in China last year. In a while, 'The Book of Peace' will be released in Japan and South Korea through Netflix as planned. This is called 'it is impolite not to reciprocate.'"

"It's not that the company doesn't have resources for you; it's about how we position you, just like when you went to the US for further studies two years ago. What you need to do now is patiently wait for the opportunity."

The conversation between the two came to an abrupt end, leaving Tang Wei standing there, pondering the meaning of his "it is impolite not to reciprocate."

She naturally knew about the old online story from last year where Tencent and Hunan TV were "intercepted" by the outside world due to their combined strategy on the Korean Wave, and there were countless legends and topics of conversation about the Diba expedition. (Chapter 528)
Clearly, in the face of the Korean wave sweeping across Asia, only the mainland has experienced some setbacks due to the existence of the border, preventing them from reaping unchecked profits domestically.

Whether it was the decisive move to have Wuyue poach Han Geng from Han Geng, or the strong crackdown on solo fans and fandoms on Weibo, both measures effectively curbed the Korean wave trend that had already swept across mainland China in the previous life.

Of course, geopolitical relations are always the core reason. Tang Wei lived in South Korea for nearly a year and knew that the best way was, as he just said, to go where you come and I go too.

South Korea has popular culture, but the entertainment industry has Netflix, movies, and even actresses like her who were "exiled" here early on.

Let's just see how we can become a cog in his "Hancheng Strategy"...

Before the premiere officially began, the cast and crew of "Ball Lightning" interacted with the audience on stage. After Zhou Xun, Xin Baiqing, Duan Yihong, and others gave brief interviews and questions, Lu Kuan finally gave a speech on behalf of the cast and crew.

He expressed his hope that "Ball Flash" would not only deliver a visual spectacle but also spark reflection on the relationship between technology and humanity. He also expressed his special thanks to South Korean film fans for their support of his previous film, "History of the Sky," which was the film's second-highest box office gross in Asia after China. He was moved by the South Korean audience's resonance with historical justice.

This is like "chatting" the Japanese in front of the Koreans, and then "talking" about the Koreans in front of the Japanese tomorrow.

Of course, this is done in a subtle yet legitimate way, such as by discussing film themes that expose the ugly face of Japanese militarism.

That night, the IMAX theater at the Yongsan CGV Cinema in Seoul was packed. When the blue ball lightning first tore through the rainy night on the screen, a chorus of suppressed gasps rose from the audience.

As the plot unfolds, Chen Guang's unwavering pursuit of his parents' unsolved case, Lin Yun's complex humanity—a mixture of obsession and ruthlessness—when facing the ultimate weapon, and the final "macro-fusion" that triggers a quantum ocean visual spectacle, captivate every viewer.

The audience gasped in unison at the most thrilling moments and remained silent in deep respect during the most moving scenes, fully immersed in the experience.

Until the end of the film, a long silence of more than ten seconds was followed by enthusiastic and sustained applause, filled with recognition and excitement for this hard science fiction masterpiece.

Early the following morning, South Korea's opening day box office figures were released: the number of viewers strongly exceeded 65, and the preliminary box office reached 48 billion won, approximately 430 million US dollars. As a foreign film, it is second only to "Avatar" in South Korean film history, fully demonstrating the strong appeal of the Lukuan brand and the quality of the film in the South Korean market.

This sparked another heated discussion among South Korean film critics.

Renowned film critic Kim Yong-ok published a column in the Dong-A Ilbo entitled "From 'History Sky' to 'Ball Lightning': On Director Roh Kwan's 'Grand View' Narrative".

The article begins by frankly stating: After watching "Ball Lightning," I was once again plunged into the same complex emotions I felt two years ago when I watched "The Sky of History"—a sincere admiration as a South Korean film critic, and a touch of unspeakable melancholy about the limitations of my nation's filmmaking.

Kim Yong-ok juxtaposes the two works: If *The Sky of History* calmly lays bare the nation's immense wounds with a somber and poignant epic style, forcing the world to gaze upon it, then *Ball Lightning*, with an equally grand scope, casts its gaze towards the future, using cutting-edge scientific concepts to encapsulate the most classical Eastern philosophical themes—

Individual obsession versus collective destiny, technological ethics versus the essence of humanity.

What's most amazing about director Lu Kuan is that he possesses a narrative grandeur that we admire, whether he's dealing with historical or futuristic themes.

This breadth of vision allows his lens to transcend the joys and sorrows of specific events, reaching directly to the universal predicaments and ultimate concerns of human existence.

Kim Yong-ok compared similar works in South Korea:
In contrast, we excel at portraying history in a heart-wrenching way, such as in "Spirits' Homecoming".
Or they could create sophisticated and exciting futuristic fantasies, like The Host.

However, when we focus too much on our own traumas or rush to make social metaphors, our perspective tends to become narrow.

We always seem to be trapped in the story, unable to possess the composure and profundity of director Lu Kuan, who can both delve into the details and detach himself to observe from above. This gap may not be due to technique or talent, but rather to the difference in the author's realm and narrative ambition nurtured by a foundation of civilization.

At the end of the article, Kim Yong-ok wrote with considerable emotion:

With two consecutive works, director Lu Kuan has proven that he belongs not only to China, but also to the pinnacle of thinking in the entire East Asian cultural sphere. He has repeatedly set benchmarks for us, showing us the heights that film can reach as a serious vehicle for thought.

This is both a glory for East Asian cinema and undoubtedly a silent spur and challenge to Korean filmmakers: When will we be able to nurture directors with such vision to handle our own historical and future narratives?
At least for now, we can only look up at this vast and profound "sky" that he pioneered.

……

This review expresses the sentiments of many South Korean film fans and industry professionals. It is not only a high affirmation of Lu Kuan's artistic achievements, but also once again prompts the South Korean film industry to deeply reflect on its own creative paradigm.

The success of "Ball Lightning" undoubtedly laid a solid foundation in terms of public opinion and market for Lu Kuan and Wen Jie's future "Han City Strategy".

The heatwave along the Han River had not yet subsided, and a new storm was brewing in the Pacific Ocean. The creative team behind "Ball Lightning" arrived at Tokyo Haneda International Airport on the afternoon of July 4.

Compared to the outgoing enthusiasm of Seoul, the atmosphere in Tokyo is more complex and subtle.

Although a large number of movie fans and media gathered in the airport arrival hall, the atmosphere was very orderly. A few members of right-wing groups could be seen holding protest signs, expressing their dissatisfaction with Lu Kuan's previous work, "The Sky of History," for its exposure of Japanese militarism.

However, these protests were quickly and effectively contained to specific areas by Metropolitan Police Department personnel, failing to disrupt the main proceedings. This was a result of Toho Co., Ltd.'s prior communication of the schedule, and not simply due to efficiency and restraint in maintaining public order.

The premiere that evening was held at the TOHO Cinemas in Roppongi Hills. Although Tokyo Governor Shitaro Ishihara, known for his hardline and conservative stance, had previously made some remarks, claiming that he was very disappointed with Ruka's previous work and would not comment on this new film, this did not affect the grand scale of the event.

Because a significant portion of Mr. Lu's fan base consists of housewives with relatively flexible schedules, they simply look forward to seeing the handsome and elegant Mr. Lu visit Tokyo once again, bringing them such exquisite artistic nourishment.

This powerful consumer force comprised of housewives is reminiscent of the "Yongyang craze" that swept Japan a few years ago.

At that time, South Korean actor Bae Yong-joon, with his gentle and refined image and signature warm smile, accurately hit the emotional needs of Japanese housewives through dramas such as "Winter Sonata," and was regarded as a god by them.

The economic impact he triggered has been dubbed "brave economy" by the media. His influence extends to every corner of the world, from tourism and publishing to luxury consumption. Housewives not only book out entire theaters to watch movies and organize support activities, but also spend a lot of money to follow the products he endorses, demonstrating the amazing cohesion and purchasing power of this group in the entertainment consumption market.

Mr. Lu is mainly constrained by his identity as a director, and cannot frequently appear in TV dramas and accumulate national popularity like his wife, Liu Yifei. He is far from reaching the level of Bae Yong-joon in Japan, but today's scene is still somewhat "frightening".

The red carpet was transformed into a showcase for Tokyo's most sought-after "housewife killers." These usually gentle and virtuous housewives seemed to have collectively unlocked "fangirl" mode, each meticulously dressed and holding carefully crafted support signs with words like "Lu-san, the best!" and "Ball Lightning, I hit my heart!" written in delicate handwriting.

When Boss Lu appeared at the end of the red carpet, the screams that erupted from the crowd were no less decibels than those of any idol group, only these screams were mixed with more exclamations of "Kawaii!" and "Kakai! (So handsome!)".

A housewife who looked to be around thirty-five or thirty-six years old and had an elegant demeanor struggled to hold up a beautifully packaged gift box and squeezed to the front. She was clearly a senior customer of Toho Co., Ltd., otherwise she would not have been able to stand in this position.

As the Chinese man approached, her chest heaved with excitement. "Lu-san! These are wagashi (Japanese sweets) I made myself. Please try them!"

Mr. Lu wouldn't admit that he was blinded by the car's headlights, but rather that he intentionally or unintentionally walked closer to see what was going on, thus showcasing his interaction with Japanese movie fans under the spotlight.

After all, his reputation in Japan was distorted quite a bit because of his previous work, "The Sky of History," otherwise Ishihara Shitaro wouldn't have made such outrageous remarks.

"Arigato!" Boss Lu grinned, revealing a set of bright white teeth, then tentatively asked in English, "Does Madam speak English?"

"Of course!" The housewife's eyes lit up, and she immediately replied in fluent English with a slight Kansai accent, her speech slightly faster due to excitement:
"Just call me Yukiko! I'm a graduate of the Faculty of Letters at Keio University! I've been a loyal fan of yours since your early work, 'Whiplash'!"

As she spoke, she straightened her posture slightly, causing her carefully chosen pearl necklace to shimmer under the light. Her mature charm was tinged with a touch of girlish excitement, creating a unique kind of sexiness.

Yukiko respectfully presented the gift box with both hands, her eyes fixed intently on Lu Kuan: "These are some wagashi (Japanese sweets) that I made myself. I hope they can bring a touch of sweetness to your hard work in creating this."

The host, who had originally intended to offer translation assistance, stepped forward at the opportune moment and then humorously turned to the beautiful fan, saying, "Looks like you don't need my help! As a loyal fan of Director Lu, which of his works do you like the most?"

"Is it 'Shoplifters,' which has a similar background to Japanese films, or the dreamlike 'The Curious Case of Benjamin Button,' or perhaps the more relatable 'Tangshan'?"

"No, none of those are it, it's 'Under the Hawthorn Tree'!"

This answer surprised both Lu Kuan and the host.

Lu Kuan is a renowned director, and his identity as an actor, especially for this pure love film he co-starred in with his wife Liu Yifei, is indeed somewhat special to be mentioned in this context.

As reporters' cameras and microphones zoomed in, seizing the opportunity for publicity, the host pressed on, "Oh? That's quite an unexpected answer! Can you tell us why?"

Yukiko took a deep breath, her gaze becoming distant and earnest: "The character played by Lu San, who transforms his surging love into silent protection and sacrifice against the backdrop of a repressive era... has a very, very 'mono no aware' feel to it."

Mono no aware is an aesthetic concept in Japanese culture. It is not simply sadness, but rather a profound and keen empathy and understanding that people feel towards all things in the world, whether it be the splendor of cherry blossoms, the serene beauty of autumn leaves, or the impermanence of life and deep emotions. This aesthetic concept appears extensively in Japanese literature and films. Those who can immerse themselves in it become deeply engrossed, while those who cannot are simply seen as being melodramatic.

She paused, searching for more accurate words, "We Japanese might understand better this kind of deep-seated, unspeakable yet unwavering emotion. His eyes held the weight of an entire era and personal tenderness. That restrained beauty touched my heart more than any grand declaration of love."

As she spoke, she bowed slightly, a blush rising on her face: "Therefore, in my heart, Lu Sang is not only a great director, but also an outstanding actor who can interpret the essence of Eastern love."

"Your wife is very lucky, because you must be a devoted and good husband. I respect you very much!"

"Thank you, it's my pleasure!" Mr. Lu, ever the go-between, smiled and gave her a gentle hug before taking the exquisite food box.

As the strong arms released their grip, the sexy housewife Yukiko froze on the spot as if she had been frozen in place. Two red clouds quickly rose to her face, and her eyes became glazed over.

Even as Lu Kuan turned and walked into the theater, she maintained a slightly forward-leaning posture, as if she was still savoring that brief encounter.

The women around, who had been waiting impatiently, immediately swarmed forward, bombarding him with questions in low voices:

"Yukiko-neechan! How was it? How was it?"

"What does Lu Sang smell like? Does he smell very manly?"

"What does a hug feel like? Tell me!"

Yukiko slowly raised her hand and gently pressed it against her heaving chest, as if trying to calm her heart that was about to leap out of her chest.

"Ah... I can feel it. I can feel the outline of Lu Sang's pectoral muscles even through his suit. That solid yet restrained strength reminds me of meticulously polished cypress wood..."

She suddenly snapped out of her reverie, lowered her voice, and said with a mix of excitement and shyness, "Wild yet restrained, so sexy!"

The sexy housewife couldn't help but make a comparison, complaining with a hint of coquettishness about daily life: "Oh dear, compared to my 'fat man' who collapses on the sofa as soon as he gets off work, I definitely prefer Lu Sang's calm and sexy 'little boy'!"

.

.

Thanks to Mr. Lu's personal influence and industry connections, as well as the well-organized arrangements by the local powerhouse Toho Co., Ltd., the welcoming lineup for the premiere of "Ball Flash" in Japan was truly top-notch.

Mr. Lu's close friend, Takeshi Kitano, appeared in a black kimono. Facing the camera, his expression behind his sunglasses was serious: "Two months ago, after watching 'The Ball' in Cannes, I spent the whole night thinking about what Akira Kurosawa would say about this film if he were still alive..."

He paused for a moment, as if organizing the most precise expression, "Lu Sang filmed quantum physics with a kendo-like rhythm, that destructive beauty that bursts forth in absolute stillness, which is very much in line with the 'one-hit kill' aesthetic pursued by Bushido."

When pressed for specific details, Takeshi Kitano suddenly cracked his signature sly smile: "More than that, I'd like to know when Mr. Lu will come to my show? His eloquence is enough to make us do manzai together, that would be a real 'grand fusion'."

The audience burst into laughter; the comedy master always manages to switch precisely between seriousness and humor.

In addition, director Hayao Miyazaki, who is usually reclusive, also made a surprise appearance. He shook hands with Lu Kuan warmly and expressed his interest in the film's reflections on the relationship between technology and nature.
Also present was renowned musician Ryuichi Sakamoto, who had collaborated with the artist since "History Sky".

He is currently composing the soundtrack for the historical drama series "The Book of Peace," produced by Wenjie and soon to be broadcast on Netflix. The arrival of this musician also foreshadows a deeper collaboration between the two parties.

(Left side/Right side in the image below)

At 8:00 PM sharp, Lu Kuan took the stage to deliver a speech after a brief interview:
"Thank you to all the fans and guests who supported 'Ball Flash'. Every time I come to Japan, I can feel your enthusiasm. Oh, and by the way—"

He waved to the beautiful housewife Yukiko in the third row below the stage, and her flushed cheeks appeared on the big screen. "Thank you for the wagashi, Yukiko. I just shared some with my colleagues from the film crew. It tasted great!"

A burst of good-natured laughter erupted in the room. Thirty-five-year-old Yukiko was once again favored by a "little boy," and she was so excited that her legs, wrapped in black stockings, were entangled under the seat.

Lu Kuan smiled and shifted the topic to a deeper cultural resonance: "Savoring this exquisite experience reminds me of what director Akira Kurosawa once said: film visuals should be as concise as haiku. Just like wagashi (Japanese sweets), simple in appearance yet containing imagery of the four seasons, Kurosawa's cinematic language is exactly like that—"

"In 'Chaos,' he used a touch of crimson armor to highlight the desolation of the battlefield; in 'Dream,' he used a cherry blossom tree to express the impermanence of life."

"This aesthetic of subtraction also inspired me. In 'Ball Flash,' we replaced the flames of an explosion with a pale blue arc of electricity, and the clamor of a battlefield with the silence of a laboratory. The most extreme energy is often presented in the most restrained form."

The Chinese director paused and continued, "I was just interviewed by a reporter outside about the director I admire most. Actually, my list is very long, but Akira Kurosawa is definitely in the top three. It's just a pity that I didn't have the chance to meet him in person and ask him for advice."

"Everyone has probably heard about the concepts of quantumization and self-observation in 'Ball Lightning.' If art could truly transcend time and space, I believe director Akira Kurosawa would have appreciated this concept—"

"When the soul becomes an eternal observer, death is no longer the end, but the beginning of another existence. This is perhaps the most romantic way for us to pay tribute to this film master who passed away more than a decade ago."

The stage lights gradually dimmed, and Lu Kuan's steady voice echoed throughout the theater, reaching the ears of the Japanese audience and guests through the translator.

"Now, please enjoy the film and experience the romance of quantum entanglement brought to you by 'Ball Lightning'."

……

The audience seats were enveloped in a warm darkness, but the emotions surging within them were as fiery as an undercurrent.

Below the stage were Takeshi Kitano, Akira Kurosawa's handpicked successor, and countless die-hard fans of the film master, all of whom were quite impressed with the Chinese director's speech!
Housewife film buffs like Yukiko Kurosawa felt even more disgusted by the annoying right-wing protesters outside the theater at this moment. What a pure man who loved art, and how much he admired Akira Kurosawa.

He was not an enemy of Japan, but a friend.

The Tokyo premiere of "Ball Lightning" opened amidst minor right-wing noises but ended in a thoughtful silence.

When the pale blue quantum rose swayed alone in the darkness at the end of the film, the applause in theaters across Tokyo was not the enthusiastic, unrestrained kind typical of South Korea, but rather a deeper, almost solemn respect.

The data released the following day showed:
The film attracted over 6.1 viewers and grossed 550 million yen (approximately US$55 million), performing even slightly better than the South Korean market.

This achievement is remarkable in the discerning Japanese film market, where local film protectionism is strong, and it also proves that the film's quality has overcome potential political noise.

In 2010, Japan was still mired in the long tunnel of the "lost two decades," with the aftermath of the financial crisis still lingering. Society was permeated with a sense of weariness at the failure of grand narratives and a collective anxiety in the face of global competition.

The social contracts of "lifetime employment" and "collective priority," which were once a source of pride, are loosening, and the relationship between individual value and collective responsibility has become a common social dilemma.

Against this backdrop, the "national crisis" depicted in *Ball Lightning* unexpectedly struck a nerve in Japanese society. Ichiro Suzuki, a senior film critic for the *Yomiuri Shimbun*, wrote in his column:
Director Lu Kuan's work does not depict the myth of American individual heroism, but rather an Eastern-style, almost tragic, collective destiny.

When Lin Yun chose to "incarnate into countless forms" to become an eternal observer, his spirit of sacrifice was not for personal glory, but for the survival of the entire civilization. This spirit of "sacrificing personal interests for the public good" and dedicating oneself to the collective, though presented in the form of science fiction, resonated wonderfully with the collective unconscious deeply hidden in our Japanese culture.

In today's uncertain world, this film makes us re-examine the relationship between the individual and the collective, not as a simple opposition, but as a symbiotic relationship that must be achieved in the face of a great crisis.

……

The LuKuan team's targeted roadshows in Japan and South Korea accurately captured the cultural essence of both markets.

In South Korea, the book, which is touted as a "masterpiece of hard science fiction" and a "transcendence of the epic of national tragedy," has resonated deeply with the intellectual community and prompted introspection.
In Japan, the emphasis is on exploring "aesthetics of restraint," "the philosophy of mono no aware," and "a community of shared destiny," precisely addressing collective social anxieties.

This high-concept marketing approach, tailored to each country, is not simply about content translation and celebrity endorsements, but rather a deep cultural dialogue that ensures the film's core message is not diluted, thus achieving a double harvest of artistic acclaim and commercial success.

With this extreme approach to production, "Ball Lightning" achieved remarkable success in its opening week in both major East Asian markets:

Japan's first-week box office grossed $2200 million. This is a breakthrough in the Japanese market, where xenophobia is strong and domestic protectionism is strict. It ranks second only to the record set by "Avatar" and is the highest-grossing opening weekend for a foreign film in history.

The film grossed $1900 million in its opening weekend in South Korea. It also secured the second-highest opening weekend gross for a foreign film in history, demonstrating its near-universal appeal in South Korea.

With a combined $4100 million opening weekend in Japan and South Korea, "Ball Flash" still falls short of the near-mythical opening weekend figures achieved by "Avatar" in those two markets, but it has far surpassed other high-grossing films released at the same time, solidifying its status as a "phenomenal Asian science fiction film."

Japan and South Korea were the penultimate stops on this promotional tour. After the crew toured Hong Kong and Taiwan, where the film had already been released, "Ball Flash" immediately began its global box office frenzy.

On August 1, 2010, approximately one month after the film's global premiere, countless domestic and international media outlets began to look back, anticipate, and review its achievements.

Even though it hasn't reached the level of Avatar's initial popularity, only "two balls" have generated the most discussion this summer.

The World Cup and "Ball Flash".

That morning, "China Film Report" released the film's first-month data, even though it had already finished its run in some regions:
As the world's largest box office market, North America has provided a strong foundation for the film's long run thanks to its excellent word-of-mouth. After earning $1.3 million in its opening week, the film has maintained a steady performance and accumulated $3.6 million in box office revenue after five weeks of release.

In the short term, it seems that only Disney's "Toy Story 3," which was released recently, has the potential to break the balance.

In the European market, major countries such as the UK, France, and Germany performed well and showed strong momentum, with a cumulative box office of $2 million;
Asia and other regions contributed a total of US$2.7 million.

Ball Lightning grossed $8.1 million worldwide in about a month after its release, a stunning achievement that propelled the film into the top of the year's global box office and made it one of the highest-grossing non-English films of all time.

The key point is that this is only the first month!
Given the current burgeoning market enthusiasm, although other markets will gradually pull from theaters, "Ball Flash" will certainly enjoy an exceptionally long run in China, comparable to "Avatar," especially given the strong support it received from the People's Daily article a month ago.

However, compared to the global phenomenon of $27.88 billion that Avatar ultimately achieved, the hope of surpassing its record is slim at this rate.

The heights achieved by Avatar, with its revolutionary audiovisual experience and unprecedented global influence, are extremely difficult to replicate.

However, when the focus shifts back to the Chinese market, the situation reveals unique potential:

As of July 31, "Ball Lightning" had grossed 10.5 billion yuan in mainland China, a figure that far exceeded industry expectations.

更值得关注的是其市场表现：影片在上映第五个周末（7月30日-8月1日）依然展现出强大的票房号召力，周末三天再收1.2亿元，其中8月1日单日票房高达4180万元，这表明影片的衰减曲线极为健康，后劲十足。

Based on this trend, market analysts generally predict that as long as the current screening schedule and market enthusiasm are maintained, and if there is a super long screening period comparable to "Avatar", the film's final box office seems likely to challenge the latter's mainland box office record.

Have you heard that the government troops have recovered Henan and Hebei?

That evening, renowned film scholar Dai Jinghua published a lengthy analysis on social media, interpreting this phenomenon from an industry perspective:

"Ball Lightning" grossed 10.5 billion yuan in a month and showed the potential to challenge "Avatar's" 17.79 billion yuan. This is the result of the integration of specific resources in the Chinese film market ecosystem.

First, there is a qualitative change in terminal control. As the largest private cinema chain, Wenjie Jiahe Cinema Line owns nearly 70 IMAX screens nationwide, accounting for more than 80% of the total. This means that "Ball Flash" has absolute say in the screening share of the highest premium box office.

With the strong support of state-owned cinema chains such as Beiping New Film Union and China Film Group, a pattern of joint promotion by state-owned and private capital has been formed.

Secondly, there's the benefit of an extended screening period.

The flexible key period provided by official media endorsement is key to the film's ability to accumulate high box office revenue. Based on the current trend of still generating tens of millions of yuan in box office revenue per day, it is expected to accumulate another 6 to 7 million yuan in box office revenue in the next two months.

Thirdly, there is the advantage of localized operation. Director Lu Kuan's control over channels such as Weibo, Zhijie Video, and Focus Media enabled precise audience reach and sustained popularity. The national sentiment evoked by the "return of the animal heads" event combined with the film's quality to create a unique viewing experience.

Therefore, although Avatar once took the record for the highest-grossing film in mainland China from The Founding of a Republic with 17.79 billion yuan, it is possible that The Ball Flash, with the same screening period and more in-depth localization, will eventually surpass that figure.

This is not just about explosive power, but a successful example of a protracted war.

Professor Dai Jinghua's detailed and insightful article immediately ignited the enthusiasm of domestic film fans upon its release.

More accurately, it awakened an expectation that they themselves were unaware of.

Before this article appeared, both ordinary viewers and those within the industry were actually caught in a subtle mindset.

Despite the phenomenal opening of "Ball Flash," everyone subconsciously regarded "Avatar's" record of 17.79 billion as an unattainable myth, a peak forged by revolutionary 3D technology, a global cultural phenomenon, and an exceptionally long theatrical run.

This actually stems from the fact that Mr. Lu himself used "Avatar" in all occasions to warn his industry peers and "advocate" the industrialization of film, which inadvertently elevated the former to a pedestal.

Of course, the final box office figures confirmed his judgment.

But now...

You're suddenly telling me that there's hope for a comeback for domestic science fiction films?

Perhaps feeling sorry for her husband who had been traveling all over the world for nearly three months since May, Xiao Liu, just like six years ago, was the first to post on Weibo to support the film's final push, cheering on the washing machine at such a crucial moment.

She hilariously pieced together images of comments from fans under her Weibo posts during Boss Lu's global roadshow tour over the past two months.

A bunch of fans revealed the true, shameless nature of the washing machine to their idol through these pictures—

A hug with American sweetheart Miranda Kerr during a North American roadshow;

He warmly "received" the beautiful female artists from the company brought by Lee Mi-jung in South Korea;
He chatted warmly with Yukiko, a beautiful young woman from Japan, and even ate some of her homemade snacks...

Netizens are like Sherlock Holmes, recording all the "evidence" of the washing machine that they have a grudge against by stealing their wife through various media reports and even logging onto foreign websites.

It's just that now it's become a fan-made image of Xiao Liu teasing her husband.

She posted the jigsaw puzzle, and then wrote on Weibo:
Thank you to the enthusiastic netizens for sending me the documentary on a well-known Chinese director's global "cultural exchange".

This includes, but is not limited to, the academic embrace between the North American segment and the supermodel, the Korean special session to assess the results of CJ Entertainment's artist training program, and the Tokyo station where participants sampled handmade wagashi (peaceful smiling expression) made by beautiful female audience members.

However, considering that the child's father had been traveling across borders for ninety consecutive days, working hard around the world with "Ball Flash," the family decided to file a record of his excessive dedication to work (in case of future repercussions).

Just kidding (no).

Six years ago, on the centenary of Chinese cinema, I was probably doing the same thing, liking and sharing posts online every day about how "A Home Too Far" broke the box office record of "Titanic," eagerly watching the final sprint of the box office.

Six years later, the young director I admired back then is now the father of two of my children, and in two more years he will turn thirty, but his love for film remains as strong as ever.

Just like Dr. Chen's father said in the movie—the key to a wonderful life is what you can become obsessed with.

Please continue to be passionate about and love movies. The three of us will always be your strong support and will always love you madly and persistently!

Looking forward to Ball Flash reclaiming lost ground!
We look forward to the Chinese people regaining the record for the highest-grossing film in Chinese film history!

(End of this chapter)