Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 581, page 579: The Golden Angel's Invitation

On November 1st, at 9:00 AM local time in Los Angeles, the organizing committee of the 1st China-US International Film Festival simultaneously announced the final list of films nominated for the "Golden Angel Award" in the main competition section through its official website and global media partners.

This list, which includes sixteen films from multiple countries around the world, has sparked widespread attention and discussion among film fans and industry professionals worldwide since its release.

With his visionary foresight, Wang Sheng meticulously selected outstanding films that had been released globally before October 2004 and were poised to make a mark on film history or awards. This made the main competition section of the inaugural SAIFF exceptionally high-quality, revealing a formidable presence from the outset.

The list of shortlisted films is as follows (partial):

Million Dollar Baby - USA - Director: Clint Eastwood. This film, which tells the story of the deep friendship between a female boxer and her old coach, is a strong contender for an Oscar with its profound emotional power and superb performances.

Sideways - USA - Director: Alexander Payne. This witty and humorous road movie offers a nuanced exploration of midlife crisis and friendship, and has been hailed as one of the best comedies of the year.

The Sea Inside - Spain - Director: Alejandro Amenábar. Based on a true story, this film explores the weighty topics of human dignity and euthanasia, with a powerful performance from Javier Bardem.

Vera Drake - UK - Director: Mike Leigh. The film depicts the tragedy of an ordinary woman who helps women with abortions in the 50s with a simple yet powerful touch. Imelda Staunton's performance as Vera is highly praised.

The Chorus (Les Choristes) - France/Switzerland/Germany - Director: Christophe Barratier. This heartwarming musical film, with its beautiful choruses and sincere emotions, has garnered countless tears and applause from audiences worldwide.

The Motorcycle Diaries - Argentina/USA/Chile, etc. - Director: Walter Salles. The film chronicles Che Guevara's journey across South America in his youth, filled with idealism and youthful restlessness.

Nobody Knows - Japan - Director: Hirokazu Kore-eda. This film, based on a true story, uses a calm and restrained cinematic language to tell the story of a group of children abandoned by their mothers struggling to survive in the corners of the city, conveying a delicate and profound emotional experience.

"Havoc in Heaven" - China - Directors: Wang Sheng (General Director) / Xu Ke (Director). As an ambitious work for the industrialization of Chinese cinema, its visual spectacle of Eastern mythology and cultural heritage makes it particularly eye-catching on the list.

Howl's Moving Castle - Japan - Director: Hayao Miyazaki. Another masterpiece from the animation master, a perfect combination of imagination and anti-war themes.

*The Assassination of Richard Nixon* - USA/Mexico - Director: Niels Müller. Based on a true story, it portrays the despair and resistance of ordinary people under systemic oppression, with Sean Penn delivering a powerful performance.

Other shortlisted films include Italy's *The Keys to the House*, Brazil's *City of Men* (a crime drama that continues the influence of *City of God*), Germany's *A Education* (a new work by the director of *Goodbye Lenin!*, which serves as a prelude to *The Lives of Others* and depicts the oppressive life in East Germany), and Iran's lesser-known but highly auteur-driven masterpiece *Turtles Can Fly*.

This film list takes into account both artistry and influence, including Hollywood awards season favorites, as well as hidden gems from the three major European film festivals, and strong voices from Asia, Latin America and other regions, fully reflecting the selection philosophy of "cross-cultural dialogue" and "multi-value" emphasized by Wang Shenghe and the organizing committee.

When the news reached China, the media and movie fans were ecstatic. Compared to the Shanghai International Film Festival, the China-US International Film Festival was considered to be of a higher prestige.

……

Los Angeles time, July 11, 2004, afternoon.

An international flight from Beijing, China, landed smoothly at Los Angeles International Airport.

Dressed in a well-tailored dark casual suit and wearing sunglasses, Wang Sheng walked out of the private jet terminal with an air of composure, surrounded by a group of assistants, bodyguards, and some senior executives from Shengying Media.

Also arriving on the same flight was Fan Xiaopang, a special guest of the film festival. Dressed in a stylish autumn outfit, she exuded star quality and immediately attracted the attention of the few Chinese media outlets waiting at the airport.

Although Wang Sheng tried to keep a low profile during his trip, his whereabouts were no secret as the core initiator of SAIFF, chairman of Shengying Media, and one of the most sought-after figures in the global film industry.

The airport arranged a VIP channel, but a number of media reporters and some enthusiastic movie fans still gathered at the exit after hearing the news.

"Director Wang! Look this way!"

"Mr. Wang Sheng, are you confident about the first film festival?"

"Ms. Fan, what are your plans for this trip to Los Angeles?"

The flashes were going off, and problems were popping up one after another.

Wang Sheng did not linger, but simply nodded slightly in the direction of the camera as a greeting, and then, under the protection of security personnel, quickly got into the black Cadillac Escalade arranged by the organizing committee.

Fan Xiaopang smiled, waved elegantly, and then got into another car.

The convoy drove away from the airport and merged into the slightly congested traffic of Los Angeles in the afternoon.

Wang Sheng leaned back in the comfortable back seat, gazing at the familiar scenery outside the window—sunshine, palm trees, rows of low-rise buildings, and the ubiquitous car culture.

It had only been a few months since he last left Los Angeles, but this time he returned with a different identity.

He is no longer simply a collaborator or director, but one of the key figures behind this emerging film festival platform. He is staying at the Beverly Wilshire Hotel, a legendary landmark hotel and one of the official venues for this year's festival.

The hotel provided the highest level of hospitality.

After settling in, Wang Sheng immediately threw himself into his work.

He first held a brief video conference with the U.S. head of the organizing committee, jury chairman Richard Walter, and key members who had arrived earlier, to confirm the schedule and details for the last few days of the film festival.

He then listened to the latest report from the head of Sheng Ying's US branch on the pre-release promotion of "Havoc in Heaven" in North America.

……

May 12, 10:00 AM.

The grand ballroom of the Beverly Wilshire Hotel was already packed with people.

Hundreds of journalists from around the world set up their cameras and microphones, awaiting the first official appearance of Wang Sheng, chairman of the organizing committee of the first Chinese American International Film Festival.

On the backdrop, the film festival logo in both Chinese and English and the words "Press Conference" were particularly eye-catching.

At 10:00 a.m. sharp, Wang Sheng, accompanied by some members of the film festival organizing committee and staff, entered the venue on time.

Today he changed into a navy blue Tom Ford custom suit, standing tall and composed, with a calm and confident smile on his face.

In an instant, the entire banquet hall was filled with the sound of camera shutters, and he was enveloped in dazzling flashes.

Wang Sheng took his seat in the center of the stage and adjusted the microphone.

He didn't prepare a thick manuscript, only a few small cards highlighting key points.

"Good morning, friends from the media. Welcome to Los Angeles, and welcome to the first China-US International Film Festival." Wang Sheng's opening remarks were in Chinese, and the translator repeated them in fluent English, the voice clearly carried through the microphone to every corner of the venue.

“First of all, on behalf of the film festival organizing committee, I would like to thank our film colleagues around the world for their support, thank the production teams of all the shortlisted films, and thank all the media friends present. SAIFF was born from a simple belief: film, as an art form that transcends language and culture, has a unique power to connect different civilizations and promote mutual understanding among human beings.”

He briefly explained the original intention of the film festival and its theme of "Dialogue, Exploration, Future," emphasizing its non-profit nature and mission to promote film culture exchanges between China and the United States and even globally.

He then introduced the impressive lineup of the jury—led by Richard Walter, and composed of international film heavyweights such as Mark Johnson, Joan Chen, Charles Teson, and Zhang Yimou, ensuring the professionalism and authority of the "Golden Angel Award."

The ensuing Q&A session with the media was lively.

A reporter from the Los Angeles Times asked first: "Mr. Wang, SAIFF has attracted many excellent films to compete in its inaugural year, including some Oscar favorites. Are you worried about being compared to the long-established Toronto International Film Festival or even the Oscars? What are SAIFF's unique competitive advantages?"

Wang Sheng smiled slightly, responding with ease: "Comparisons are inevitable, but we are more focused on doing our best. SAIFF's uniqueness lies in the fact that it was born against the backdrop of deep cooperation between China and the United States, the two most important film markets in the world."

We not only focus on the artistic achievements of film, but also emphasize its role as a cultural bridge, hoping to provide a more focused and equitable platform for outstanding filmmakers from different backgrounds, especially from Asia and the Americas, to showcase their talents and exchange ideas. We don't aim to replace anyone, but rather to become a valuable addition to the global film ecosystem.

A journalist from the French film magazine Cahiers du Cinéma asked: "Director Wang, your film 'Havoc in Heaven' has also been shortlisted for the main competition. As the chairman of the organizing committee and also a participant, how do you ensure the fairness of the judging?"

This is a rather pointed question. Wang Sheng remained calm and answered, "This is an excellent question. From the very beginning of the organizing committee's establishment, we have established a strict system of recusal. When the jury discusses and votes on 'Havoc in Heaven' or any other films that are related to me personally or Shengying Media, I will completely recuse myself, not express any opinions, and not participate in any related processes."

The jury possesses independent and complete decision-making authority. I have faith in the professionalism and integrity of Chairman Richard Walter and his team. The credibility of the film festival is our most cherished asset.

A reporter from CCTV took the microphone: "Mr. Wang Sheng, this is the first time that Chinese capital and filmmakers have spearheaded the creation of such a high-profile international film festival overseas. What do you think this signifies? What does it mean for the future of Chinese cinema?"

Wang Sheng's gaze swept across the entire room, his tone firm and powerful: "This marks that after years of learning, accumulation, and exploration, Chinese films and Chinese filmmakers have begun to try to transform from adaptors to rules to participants in rules, and even co-formulators of rules."

This is not only a victory for the market, but also a manifestation of cultural confidence. The successful hosting of SAIFF will open a new window for Chinese films, allowing the world to see more three-dimensional and diverse Chinese stories and expressions.

At the same time, it provides Chinese filmmakers and audiences with an excellent opportunity to access world-class cinematic art right at their doorstep. This is just the beginning; in the future, we will integrate more deeply into the global film landscape and contribute our Eastern wisdom and strength.

Confidence, candor, and a grand vision—these are the most profound impressions Wang Sheng left on the outside world at this press conference.

The press conference, which lasted for nearly an hour, concluded successfully.

(End of this chapter)