The only sun in Huayu

2009 2 Month 13 Day.

BJ.

The world premiere of "Nanjing! Nanjing!"

There was no red carpet noise, no flashing lights.

At the entrance of the venue, a huge poster, in a somber black, white and gray color scheme, was engraved with the film's title.

All the guests and key members present were dressed in black formal attire or plain-colored tuxedos, as if attending a solemn ceremony.

The air was still, filled with an unspoken solemnity.

This was not only a movie premiere, but also a collective moment of mourning.

Well-known hosts Jing Yidan, Xu Gehui, Yang Lan, and others took their places in turn.

They helped connect the different parts of the event, acting as narrators of history and guiding the emotions of everyone present.

"Thank you, Lu Chuan, and thank you for this movie."

Jing Yidan said, "It is something we cannot forget, and we must remember."

Xu Gehui continued, "Nanjing is a history we can never forget. This film contains an indomitable spirit and a history of resistance, as well as a profound questioning of human nature."

Lu Chuan recalled the two-year filming period, describing it as "being led through hell".

Other actors also choked up several times when recalling the filming process.

Shen Shandeng, standing below the stage, was also moved by the emotions of Han Sanping, Tan Hong, and the main creators beside him.

Just as he intervened in "Nanjing" not for Lu Chuan, but because of the tragedy of history itself.

Through the black-and-white images on the screen, the screams and silences, like the solemn atmosphere, should have struck everyone's heart like a heavy hammer.

Since Lu Chuan is not capable enough, he will lend a hand.

It showcases the immense power of a film's subject matter that should not be desecrated.

Lu Chuan's father was unable to attend the event in person, but expressed his concern and understanding for his son through a video message.

On stage, Lu Chuan, who had been holding on, finally couldn't hold back her emotions when she saw her father's tearful eyes, and she covered her face and wept in front of everyone.

Seeing this scene, Shen Shandeng was also somewhat moved.

Lu Chuan's abilities were somewhat lacking, but she was still a decent person.

Hopefully, he can hold on after the movie is released!
The premiere was drawing to a close.

Facing the camera and the entire audience, Lu Chuan promised, "My next work will be even better."

Following this, official leaders delivered speeches affirming the film's historical significance, and representatives from Hollywood companies and Japanese film companies were also present.

When the lights dimmed again, the main feature began.

Tian Lili, who was also at the premiere, nodded repeatedly as she watched.

I had heard from some friends that the preview screening had received a very good response, and it was indeed true.

Lu Chuan's handling of the situation was very sophisticated, incorporating both Chinese and Japanese perspectives.

There is a successor!

Moreover, the Japanese characters were portrayed seamlessly, reflecting history without dwelling on the trauma. When Kadokawa picked up the camera, Tian Lili almost applauded.

However, considering the situation, he put his hand down.

If it weren't for this solemn atmosphere, he would definitely have shouted "Bravo!"

Kadokawa is based on Yasujiro Ozu!
Lu Chuan is such a filial child!
Why didn't you tell him!
He only got a master's degree, not an undergraduate, but that doesn't affect his true character. He's a true member of the Lu family.

This tribute is absolutely brilliant!

Yasujiro Ozu is considered the father of Japanese cinema and also the father of Asian cinema. Five generations of his family, including Tian Lili, acknowledge him as their patriarch.

Tian Lili thought that although Yasujiro Ozu did some bad things, the work should be separated from the author. "Tokyo Story" is the greatest film in Asia.

"Farewell My Concubine" is a Chinese interpretation of "Tokyo Story".

He can be considered a disciple of Yasujiro Ozu.

Lu Chuan, as a sixth-generation director, paid such a tribute, which shows that the tradition of filmmaking has been passed down and is inherited in one line!
As the class monitor of the fifth generation, it's impossible for Tian Lili not to be moved!
While commemorating history, we also moved beyond hatred.

"Chuan, you took great photos."

After the premiere, Tian Lili patted Lu Chuan on the shoulder, her voice full of pride: "This movie is amazing! I heard it's going to be released in China at the same time as the original film. Great! This movie is going to go international and show the Chinese people's attitude against war!"

Tian Lili brought over a representative from the film and television company on the other side of the script to introduce Lu Chuan.

Before leaving, Shen Shandeng witnessed this scene and was moved.

Tian Lili's "The Blue Kite" was produced by the Japanese. In the early years, a Japanese company approached Tian Lili to act in a film.

Tian Lili then asked Mo Yan and Li Yiran to help him write a script about the Yellow River.

The reason is that he believes the Yellow River, the "Mother River," brings both blessings and disasters, but no matter how ugly the "Mother" is, she is still the "Mother."

To put it bluntly, the "Nile floodplains" are a gift, while the Yellow River's periodic floods are seen as a curse on dynastic changes—that's the gist of it.

The urge to breathe on it was irresistible. Later, this film was not made, and the Japanese side asked him what else he wanted to film, so they made "The Blue Kite".

Later, when the film was awarded during special periods, it was also done through this subsidiary.

It wasn't just Tian Lili; many others in the Five Dynasties period were like this. At the beginning of the reform and opening up, both Japan and the West consciously guided and orchestrated the process.

Chen Kaige's "The Emperor and the Assassin" is not based on a Chinese story, but is adapted from a Japanese novel. "The Promise" also had Japanese investment, and its costumes and props have a Japanese feel.

Even Zhang Yimou's films, like "Half Lake Green," have their own charm, and the four-character acting style is Japanese.

"The task is arduous and the road ahead is long."

Shen Shandeng wants to change the underlying logic and stop prioritizing the three major European universities and the Oscars. How difficult that is!
Respecting the West is good, and so is respecting Japan.

There's a small group of people in the arts and entertainment industry who absolutely have to acknowledge a powerful father figure.

Take movies for example. If we're talking about tracing the origins, there are the Yan'an school and the Shanghai school, but we have to look outside of them.

Ultimately, it's a chain of West = Industrialization = Modernization = Advanced.

Lu Chuan was greatly encouraged after the film's premiere.

On February 16, the premiere of "Nanjing! Nanjing!" was also held in Nanjing.

Lu Chuan graduated from a school in Nanjing and has a deep affection for the city.

The Nanjing premiere specially invited survivors of the Nanjing Massacre to participate, and the atmosphere at the event was equally solemn and moving.

However, after the film was screened, the audience was confused, dissatisfied, and even angry.

The lights came on, and the audience looked at each other in bewilderment.

During the Q&A session, a young man asked in a calm tone, "Director Lu, I want to ask about the ending of the character Kadokawa! He participated in the Nanjing Massacre, his hands are stained with the blood of Chinese people, so why was he able to leave without paying the price with his life, instead picking up a camera that symbolizes recording and civilization and walking away lightly? Isn't this a secondary trauma to the victims?"

Lu Chuan patiently explained: "The film shows the brutality of the Japanese army, but we are not trying to reopen old wounds."

He wasn't too concerned about the criticism, thinking that the audience hadn't quite understood it.

But it's clearly not convincing. A descendant of a survivor took the microphone: "The film does show the brutality of the Japanese army, but you've given Kadokawa, the central Japanese soldier, an overly complete 'humanity' and 'path to redemption.' This makes me very uncomfortable."

“We remember history to warn future generations, not to find excuses for the perpetrators. I cannot accept this treatment, and I believe many viewers cannot accept it either!”

Lu Chuan sensed something was wrong, but still said, "Letting him live is more painful than letting him die!"

A voice from the back row shouted, "This is hypocrisy!"

The scene quickly spiraled out of control, with questions and criticisms rising one after another.

Fortunately, the host managed to control the situation in time, preventing it from spiraling out of control.

The premiere has ended.

Backstage, Tan Hong looked at the real-time recordings coming back from the front, his brows furrowing deeper and deeper.

Having spent many years in the business and entertainment industries, he has a far more acute sense of public sentiment than Lu Chuan.

He anticipated that the controversy surrounding the film's release might far exceed expectations, and could even affect its box office performance and reputation.

Lu Chuan stood in the corner, her face flushed with excitement.

Why does everyone say it's good?
Why did they stop understanding him once they arrived in Nanjing?
Lu Chuan was very indignant.

But I also felt a sense of mission: this movie was the right one!

Everyone else was drunk, but he alone was sober!

"Director Lu, something seems a little off."

Tan Hong carefully chose his words, saying, "The audience had a huge backlash against Kadokawa's ending."

Lu Chuan waved her hand, interrupting Tan Hong.

“They don’t understand! They want us to cry and whine, but I won’t cry and whine! This is our story! We can neither make a scene nor get caught up in narrow-minded historical hatred!”

Lu Chuan's eyes were unusually stubborn.

"My films are not about repeating hatred, but about transcending it! They are about guiding people to think about how war distorts humanity and the possibility of redemption!"

"Kadokawa picked up the camera not to escape punishment, but for a harsher punishment! Another form of repentance and struggle!"

He became more and more excited as he spoke, "Mr. Tan, think about the word-of-mouth from our test screenings and the word-of-mouth from our world premiere!"

"I think it's because this city has accumulated too much pain, and I don't blame the audience!"

Lu Chuan closed her eyes and said painfully, "When the movie is officially released, more viewers, including those with independent thinking abilities, will understand!"

"Time will prove my point! Art should not be bound by momentary emotions!"

Tan Hong looked at Lu Chuan, who was almost obsessive. The director was completely immersed in the art he had created, and Lu Chuan couldn't listen to anything at the moment.

When things come to this point, should we change it again? And how should we explain it if we do? Getting it approved smoothly was already a pleasant surprise.

If the regeneration process continues, who knows if it will be able to continue?
At least for now, it has been proven that there will be controversy, and controversy generates topics, buzz, and box office revenue.

As for Lu Chuan, he made his own choice!

Tan Hong opened his mouth, but ultimately swallowed his words of advice. (End of Chapter)