I am a historical film director in the entertainment industry.

Looking back now, it's not impossible that Chen Hong and Cheng Sheng had an ambiguous relationship.

Thinking about all this, Xu Fan suddenly lost interest in watching the movie and started paying attention to Chen Hong's every move.

One minute.

three minutes.

five minutes.

Suddenly, Xu Fan noticed that Chen Hong, like herself, wasn't watching the movie, but instead kept glancing at Cheng Sheng's back in the first row. As a woman, Xu Fan immediately understood what was going on in her eyes.

Only when a woman falls in love with someone will she look at him with those tender, watery eyes.

Upon seeing this, Xu Fan's lips curled up slightly; she felt she had discovered a great secret.

This was completely unexpected.

She originally thought that Chen Hong and Cheng Sheng only had an ambiguous relationship and got together because of mutual benefit; it was just a fling to relieve her loneliness.

Unexpectedly!

Chen Hong actually fell in love with Cheng Sheng.

whee!

It is unknown whether Chen Kaige knows that his wife has fallen in love with someone else.

However, that's not important. What's important is that if I can capture intimate moments between the two of them, then I can simultaneously control both Cheng Sheng and Chen Hong.

"Honey, what's wrong? Didn't you like the movie?"

Suddenly, Feng Dapao, who was sitting next to Xu Fan, realized that his wife hadn't watched the movie, which made him very curious.

"No... the movie was very good."

"Then why are you staring at Chen Hong?" Feng Dapao asked, frowning.

"I was thinking of asking her to go shopping together after the movie," Xu Fan said dismissively.

"You and she don't seem to know each other very well, so why do you want to go shopping with her?" Feng Dapao asked, puzzled.

"I just wanted to find out about Chen Kaige's new movie for you!" Xu Fan said.

"No need, I have connections in Hong Kong. Someone told me about Chen Kaige's new movie," Feng Dapao said with a smile.

"Oh, what do people in Hong Kong say?" Xu Fan asked curiously. "They said Chen Kaige's movie was very explicit, with many passionate scenes," Feng Dapao said, squinting.

"Wait a minute, isn't this movie starring Twins? Has Emperor Entertainment gone mad, or are they planning to abandon Twins? How could they let them film a movie with explicit content? Isn't that trying to ruin their future?" Xu Fan exclaimed in astonishment.

"I can guess a bit about Emperor Entertainment. Chen Kaige intends to compete for the three major European awards with this film. Perhaps the profits from this film outweigh the Twins' image, which is why Emperor Entertainment had them star in a film with explicit content." Feng Dapao said after thinking for a moment. After all, Cheng Sheng's script was a sure thing to win awards.

“It could win an award! Old Feng, why don’t you ask Cheng Sheng to write an award-winning script for you?” Xu Fan said with a sudden thought.

Upon hearing Xu Fan's suggestion, Feng Dapao immediately fell silent.

Before Cheng Sheng debuted, Feng Xiaogang was the most awkward of the three major directors in China.

Many people believe that Feng Xiaogang is inferior to Zhang Yimou and Chen Kaige in terms of artistic achievements, status in film history, and personal conduct.

Of course, it is undeniable that Feng Xiaogang has also made outstanding contributions to the development of Chinese commercial films.

Zhang Yimou has always been the undisputed number one figure in Chinese cinema. He laid the foundation for the glory of Chinese art films on the international film scene and ushered in the era of Chinese commercial blockbusters, making him a milestone figure in the history of Chinese cinema.

He won consecutive victories at the three major European film festivals, Cannes, Berlin and Venice, and with his extraordinary artistic talent, he won the top prize at three film festivals ("The Story of Qiu Ju", "Not One Less", and "Red Sorghum") and three silver prizes ("To Live", "Raise the Red Lantern", and "My Father and Mother").

With three Oscar nominations (Raise the Red Lantern, Ju Dou, and Hero), five Golden Globe nominations, and two wins of the British Film Award, his record of being nominated for the main competition of the three major European film festivals 12 times makes him the first director in all of Asia to achieve this feat.

In addition, Zhang Guoshi received the "Filmmaker's Honor Award" from the Venice Film Festival, which recognizes individual achievements, as well as lifetime achievement awards or outstanding contribution awards from three A-list film festivals: Montreal, Cairo, and Shanghai. He also served as the president of the jury for the San Said Film Festival (1999), the Tokyo International Film Festival (2005), and the Venice Film Festival (2007).

To date, the combined awards and achievements of all other mainland Chinese directors (Chen Kaige, Jiang Wen, Jia Zhangke, Wang Quan'an, etc.) at the three major European film festivals are only roughly equivalent to those of Zhang Yimou in the 90s.

As for Feng Xiaogang, his greatest achievement over the past decade or so has probably been that he has been regarded by countless people as one of the three major directors in mainland China, on par with Zhang Yimou and Chen Kaige. Little do they know that in terms of artistic achievement alone, he is far inferior to Jia Zhangke and Jiang Wen.

Chen Kaige has won the Palme d'Or at the Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, the British Academy Award for Best Foreign Language Film, and was nominated for the Academy Award for Best Foreign Language Film (Farewell My Concubine). He has been nominated for the main competition at Cannes five times, the main competition at Berlin once, and has been nominated for the Golden Globe Award for Best Foreign Language Film twice. He has also won silver medals at the Montreal Film Festival and the Locarno Film Festival, as well as the Lifetime Achievement Award at the Tokyo International Film Festival and the Outstanding Contribution Award at the Shanghai International Film Festival.

Chia Chang-ko has won the Golden Lion at the Venice Film Festival (for "Still Life"), the Best Screenplay Award at the Cannes Film Festival (for "A Touch of Sin"), competed in the main competition at Venice three times, in the main competition at Cannes five times, and won the "Golden Coach Award" for individual achievement at the Cannes Film Festival. He has also received lifetime achievement awards at two other A-list film festivals, the Locarno Film Festival and the Cairo Film Festival.

Jiang Wen has won the Grand Jury Prize at the Cannes Film Festival (for "Devils on the Doorstep"), one Berlin Film Festival main competition, two Venice Film Festival main competitions, and one Cannes Film Festival main competition. He has only made six films in his lifetime, was nominated for the three major European film festivals four times, and helped Xia Yu, who was only 17 years old, win the Best Actor award at Venice Film Festival. He also won the Outstanding Contribution Award at the Shanghai Film Festival.

On the contrary, Feng Xiaogang is incredibly famous, one of the three major directors in China, and his fame can be said to have directly surpassed that of Jiang Wen and Jia Zhangke.

However, Feng Xiaogang's embarrassing record as a well-known director in mainland China is that he has never been shortlisted for the main competition of the three major European film festivals. Even when he changed his direction and made more art-house dramas, he still failed to achieve his goal and could only settle for second best.

Later, when he failed to be shortlisted for the three major European film festivals, he turned to other A-list film festivals outside of the three major European festivals, winning two gold medals and one screenwriting award at the Cairo and San Sebastián Film Festivals (for "A Sigh" and "I Am Not Madame Bovary"), and also received the Outstanding Contribution Award at the Shanghai International Film Festival.

Because the film lists of international A-list film festivals are mutually exclusive, the competition among films that are not in the three major European film festivals is between films that have been eliminated from the main competition of the three major film festivals.

Winning an award at a non-European Big Three A-list film festival is generally considered less prestigious than being nominated for the main competition at one of the Big Three European film festivals; this is common knowledge within the industry. (End of Chapter)