The only sun in Huayu

2 month 19 day.

After many twists and turns, "Nanjing! Nanjing!" has finally been released in theaters nationwide.

The film's release quickly sparked an unprecedented media storm.

Within the arts and culture circle, they were truly vindicated.

Finally, after Shen Shandeng stirred up trouble, they saw a glimmer of hope.

Lu Chuan stepped forward!

Jia Zhangke, along with a group of art-house film directors and veteran film critics, highly praised "Nanjing! Nanjing!"

At a small film screening, Jia Zhangke couldn't hide his excitement and said to his friends, "You all noticed, didn't you? Lu Chuan really pulled off a sophisticated move this time!"

"The final shot of Kadokawa picking up the camera, the lighting, the composition, and the characters' expressions, is clearly a tribute to director Yasujiro Ozu! It's a dialogue between filmmakers that transcends national borders and history!"

A well-known film critic praised in his column: "The excellence of 'Nanjing' lies in its transcendence of the narrative clichés of nationalism. Kadokawa's transformation symbolizes the alienation of individual humanity by the violent machine, and the salvation it receives from art."

"The ending reminded me of the silent power in Ozu's 'Tokyo Story,' which carries all the sorrow and hope. Lu Chuan has achieved an 'artistic leap' from historical themes to auteur cinema."

Artsy young people followed suit.

On platforms like Douban, numerous posts analyzing the "Ozu elements" in the film have emerged.

The "praise" from the author is also endless.

With the support of all parties, especially the Ministry of Foreign Affairs, the film was released in Japan at the same time.

Of course, although it was launched, it was on a very small scale.

After seeing the Chinese public opinion, the Japanese media, which had been spying on the situation, quickly lifted the blockade.

They began to report extensively on this Chinese historical film, which presented a "novel perspective."

While some media outlets remain vague about the historical sins themselves, they have praised the film's ending.

A commentary in the Sankei Shimbun stated: "Nanjing! Nanjing!" demonstrates a rare rationality and a yearning for peace among Chinese directors. The character of Kadokawa transcends a simple binary of good and evil, reflecting the complexity of human nature and the possibility of redemption. This may be a signal that Chinese cinema is maturing and integrating into the international discourse system.

On Japanese online forums, as the topic was unlocked, Japanese netizens who were experts in reading air began to express their opinions.

"I was deeply moved to see Kadokawa finally lay down its weapons and choose to record and reflect. This is the true meaning of anti-war."

"Finally, there are directors in China who are willing to face up to the struggles of individuals in history, instead of simply inciting hatred. Lu Jun is courageous."

"This shows that Chinese people also have a desire for peace and a voice that understands Japan."

Shen Shandeng is also paying attention to the comments after the release of "Nanjing".

The whole thing went more smoothly than he had expected.

In this day and age, people don't even pretend!

Those who support the US and Japan swagger around, even taking pride in it.

In stark contrast to the art world and the manuscript, there was the anger of ordinary viewers.

It originates from millions of ordinary viewers.

The first group of viewers leaving the theater were filled not only with a heavy sense of historical remembrance, but also with unbelievable anger and frustration.

"Lu Chuan, I'll fuck your mother!"

online.

The related discussions quickly erupted.

"I'm so pissed off! My blood pressure went up after watching 'Nanjing'! That Japanese actor Kadokawa, why didn't he die? He participated in the massacre, and then he just put down his gun, picked up a camera, and that was it?"

This short review on a movie rating website received a large number of likes within hours.

"What exactly is Lu Chuan trying to express? Is he trying to redeem an executioner through art? Did our compatriots who died agree to this? I was waiting the whole time for Kadokawa to pay with his life, and what I got in return was his 'using images to awaken humanity'? Bah! He's just awakening his own dog's life!"

"Throughout the film, the perspective of Japanese filmmaker Kadokawa is complete, like a coming-of-age story, with hesitation, love, and even a 'awakening' in the end, despite the relationship with comfort women. And what about us Chinese characters? The characters are fragmented. Mr. Tang betrayed us early on, and although he sacrificed himself in the end, there's always a sense of unease. Xiaodouzi is more like a symbol! Whose 'Nanjing' is this, really?"

"Colonel Lu, have you been bribed by the Japanese? This movie doesn't seem to be commemorating history; it seems more like it's giving the Japanese a way out! Using so-called 'universal values' to erase the suffering of our nation—their intentions are despicable!"

The audience's anger surged like a tsunami, almost unanimously directed at director Lu Chuan.

His blog was completely overrun, filled with insults from angry viewers.

Some people even began to boycott all his works, calling him "Rikushi Taro" or "Colonel Rikushi".

At this moment, Lu Chuan was experiencing both extremes of joy and sorrow.

On one hand, there was the audience's criticism, and on the other hand, he felt immense pressure.

But the "affirmation" from the authors and the praise from the literary and artistic circles as a "masterpiece" sustained his belief.

Don't panic!
It was just a passing emotion!

Tan Hongdao said, "The script is also performing well, and it seems they intend to expand the screenings. You've become an ambassador for cultural exchange between the two sides." Lu Chuan felt much better.

He's successful as long as the box office is successful.

No, it's that history has been commemorated.

As for the audience's criticism, it's just a temporary setback.

Great works are always pioneering and inevitably misunderstood by the general public.

As the first weekend ended, Tan Hong said with a strange expression, "The audience's opinion has also rebounded."

Lu Chuan was surprised after learning the truth.

Could it be that he actually copied the right thing? No, he copied Spielberg, a genius who combines art and commerce?

Compared to the previous one-sided criticism, the comments have begun to polarize.

Viewers either gave it five stars or one star, with very few reviews in between.

The Five Stars faction's viewpoint mainly focuses on two aspects.

"Kadokawa's survival is the most profound revelation of the Japanese invaders' true nature!"

"The director's brilliance lies precisely in this! Kadokawa's decision not to commit suicide precisely tears away the hypocritical veil of Japanese militarism's 'atonement with death.' That's just how they are—they say all the right things, but do all the wrong things!"

"In the movie, Kadokawa seems to have repented, but he ultimately survives and records it with a camera. Isn't this another form of escapism and continued deception? This precisely shows that they have never truly repented! Director Lu uses irony to give us a mirror that reveals the truth!"

"Being able to film it is a victory!"

"In the current environment, bringing a subject like the Nanjing Massacre to the big screen is a remarkable achievement in itself. It has allowed more people, especially young people, to learn about this history and has sparked discussion and attention, which is already a success! We should support this courage!"

One-star viewers also expressed their opinions fiercely and directly.

"A Chinese perspective on deceptive practices!"

"The film's promotion claimed it was from a 'Chinese perspective,' but what happened? Kadokawa's role was so prominent, and his inner struggles were portrayed so delicately, from fear and homesickness to 'love,' and finally 'awakening.' He practically became the protagonist with a complete character arc throughout the entire film! And what about our Chinese victims? Apart from enduring suffering, their images are as flat as symbols! Is this a tragic song for the Chinese people, or a story of the spiritual growth of Japanese soldiers?"

"A hypocritical confession and a laughable peaceful death!"

"The idea that Kadokawa could repent while continuing to participate in or witness atrocities is nauseating. What's most unacceptable is his final fate. How could an aggressor with blood on his hands escape punishment, avoid trial, and even pick up a camera, seemingly becoming a 'righteous' champion of peace? This kind of 'good end' is the greatest desecration of the millions of souls who perished!"

"Our historical approach should be one of quality over quantity!"

"If the director is not capable of handling such historical suffering, and if the so-called 'artistic treatment' ultimately becomes a whitewashing of the perpetrators, then I would rather not have such a film! It is not Lu Chuan who made us aware of the Nanjing Massacre, but the history of the Nanjing Massacre itself that has educated generations of Chinese people! Don't put the cart before the horse!"

Five-star viewers were outraged and confused by the comments that gave it one star.

In their view, those who vehemently opposed the film simply couldn't understand its deeper meaning and were blinded by hatred.

They even began to doubt their motives.

Some people commented directly online: "Did those who gave it one star receive money from the Ministry of Foreign Affairs? Are they so afraid that Chinese people will see the truth of history?"

The one-star audience was equally emotional.

Those who give five-star reviews are directly regarded as "spiritual Japanese people", "rational neutrals", and "brainwashed art sycophants".

Strong criticisms also emerged.

"Those who give it five stars are the real paid trolls who have been funded by the Ministry of Foreign Affairs! They want to use this kind of pseudo-art to downplay their crimes of aggression; their intentions are despicable!"

Cyberspace has become a complete battlefield.

Douban, Tieba, and Tianya Community are filled with mutual attacks, labeling, and lengthy debates between the two factions.

Mutual accusations are rampant.

However, no one expected that this almost out-of-control argument would produce a strange "breaking out of its circle" effect.

In the past two years, with the rise of Shen Shandeng, the literary youth who had been squeezed out felt that they had found a resonance.

Many people have begun to share their insights from watching Yasujiro Ozu's "Tokyo Story," believing that this is the key to understanding the sophistication of "Nanjing."

In their view, the audience's anger stemmed from "insufficient aesthetic level" and an inability to understand such sophisticated artistic expression.

Thus, "Kadokawa and Ozu" and "Mono no aware and redemption in 'Nanjing'" began to enter the mainstream audience's field of vision.

However, to the surprise of the literary youth and art enthusiasts, the topic was immediately attacked by both sides after it emerged.

The two sides, who were originally arguing fiercely, have reached a consensus on this topic.

Moreover, it wasn't just the beatings; all the things that the Japanese soldier Yasujiro Ozu had done were also exposed.

Then, public opinion went completely crazy!
It's a mess.

A fierce discourse war is unfolding, revolving around history, memory, art, and stance.

Lu Chuan lit the fire, but she could no longer control its raging flames. (End of Chapter)