This director loves making friends.

In the 1990s, there were no direct flights from Hong Kong to Berlin. If you wanted to go to Berlin, you would usually transit through places like London or Paris in Europe before going to Berlin.

Qin Keqing flew directly to Paris this time. During the week he returned to Hong Kong, besides frantically making cameo appearances in various film crews, he was also thinking about how to achieve his goal more safely during this trip to Berlin.

Although he is still young, he doesn't want to wait any longer. He needs to secure one of the three major European directors before he can be considered a great director.

The saying "One should become famous as early as possible" is actually quite true.

Take Zhang Yimou for example. He reached his peak right from the start. His directorial debut, "Red Sorghum," won the Golden Bear at the Berlin International Film Festival, instantly making him an internationally renowned director and a target of recruitment by the three major European film studios.

In China, Zhang Yimou is generally considered to be a great director on par with Chen Kaige. It wasn't until Zhang Yimou directed the 08 Olympics that he became "greater" than Chen Kaige.

Actually, this perception isn't wrong, but it's only valid within China.

Once outside of China, no matter where in the world, whether in Europe or North America, Zhang Yimou's influence and fame are far beyond what Chen Kaige can compete with.

Chen Kaige won a Palme d'Or... and he'll live off it for the rest of his life.

Zhang Yimou has won two Venice Golden Lions, one Berlin Golden Bear, and a grand slam of the three major European jury awards.

Furthermore, he helped Ge You win the Best Actor award at Cannes with "To Live" and Gong Li win the Best Actress award at Venice with "The Story of Qiu Ju," demonstrating a talent for promoting people that Chen Kaige could not match.

If Zhang Yimou's debut film, "Red Sorghum," hadn't won the Berlin Golden Bear, then even if he had directed the exact same films afterward, it's certain that none of them would have won as many awards.

What's with all this talk about art? Does art have specific standards?

They said that the film won awards because it depicted the ignorance and backwardness that Europe loves to watch.

Ignorant and backward?

Look at the films that have won awards in the three major European film festivals, including those made by older white European men—is there a single one that is normal?

It could be the sorrow and helplessness of ordinary people against the backdrop of a particular era, a reflection of the evil in human nature, absurdity and ignorance, political persecution, or judicial injustice...

Another type is those who specialize in perverted activities.

There's no fixed standard for judging whether an art film is good or bad.

In many cases, or even most cases, if a film by an unknown director is of similar quality to a film by a well-known director, especially one who has won one of the three highest European awards, the film festival will definitely give the major prize to the well-known director first.

There are many things involved here, and many things to consider, but the most crucial point is that influential directors can bring more attention and influence to the film festival.

Don't say that the three major European film festivals don't need attention and influence. If the festival doesn't send big directors and stars for two consecutive years, its attention will drop by more than one level, and its influence will also decrease.

In fact, not only the film festival organizers, but also the judges, will give priority to awarding prizes to well-known directors, because this is the safest approach and the one that generates the least controversy.

Moreover, most of the judges know the famous directors and are acquaintances with each other. Next time, they might switch places, with the judges becoming the participating directors and the participating directors becoming the judges.

There are social customs and etiquette everywhere, and older white men are even more adept at these customs and etiquette than Chinese people, and they do it more openly.

"Ha, Qin, you've finally arrived. It's so nice to see you again."

Pierre-Lissent took the suitcase from Qin Keqing. "I've already booked a hotel. We'll rest in Paris tonight, and tomorrow we'll head to Berlin together."

Qin Keqing and Pierre Lissent are now "friends through thick and thin," which is already a very reliable friendship. Therefore, he decided to stay in Paris for one night and planned to use Pierre Lissent for something.

Of course, Pierre Lissent will definitely need to cooperate.

Although Pierre Lissent is a selector for the Cannes Film Festival and a close associate of Gilles Jacob, the festival's artistic director, his connections extend beyond Cannes. He also privately introduces films to some European and American film companies.

Yes, commonly known as a middleman.

"Why are you going to Berlin? The Cannes Film Festival is only four months away. You can wait until it opens. As long as the film is decent, you're sure to win an award."

It would be impossible for Pierre Lissent not to have some reservations about Qin Keqing's decision to go to the Berlin Film Festival.

Last time he took "The Man from Nowhere" to Venice, Pierre Lissent couldn't say anything. After all, the Venice Film Festival comes after the Cannes Film Festival. He couldn't expect Qin Keqing's film to wait ten months to go to Cannes next year, could he?

But the Berlin Film Festival is different. It opens in February, so you can wait until Cannes three months later.

"You should know that I'm currently a graduate student at the Beijing Film Academy. The academy has good connections in Berlin, and after my advisor learned about my new film, he personally went to Berlin to help promote it. I can't just stand my advisor up, can I?"

Qin Keqing explained briefly that everything he said was the truth, without any fabrication.

Pierre-Lissent shrugged. "Okay, Qin, I'm good friends with Zhang Yimou and Hou Xiaoxian. I know that your Beijing Film Academy has a lot of connections in Berlin. Your mentor must be trying to use these connections to get you awards."

Of course, Qin, we are the real brothers, and our relationship is definitely not something they can compare to.

Could you tell me which award your mentor is aiming for this time? What are the chances? I need this information to better negotiate with some film companies.

Qin Keqing has already handed over the European rights to "Old Boys" to Pierre Lissent to handle, so that he can also gain some benefits. This is the way to ensure that he works harder, more actively, and more cooperatively.

In Europe, it doesn't matter who manages the copyright; it's all the same.

Although Qin Keqing was able to negotiate with the companies he had worked with in Europe on his own, these companies did not pay more copyright fees just because they eliminated the "middleman".

In fact, they actually prefer to buy and sell copyrights through "middlemen".

The tens of thousands of dollars in brokerage fees were not wasted. Those who can act as "middlemen" are almost all seasoned film selectors like Pierre Lissent, who have extensive connections and can help films win awards.

At the very least, it can recommend one film for the main competition.

All of this is "money".

Being selected for the main competition is the best publicity for a film, and winning an award can save a lot of marketing and distribution costs. These are not things that can be obtained for a few tens of thousands of dollars.

European film companies often use this seemingly harmless act of "giving money" to deepen their cooperative relationship with them.

"Pierre, you might not believe it, but just think big. That's why I didn't object to going to Berlin."

Qin Keqing said with a smile.

"Mm! Qin, you're not kidding, are you?"

Pierre-Lysten was visibly surprised, then looked intently at Qin Keqing, "My dear director, tell me honestly, what are the chances of you being right?"

If a film that could win the Berlin Golden Bear were entrusted to him to handle its European rights, the "brokerage fee" would be incomparable to that of a regular film.

I'm sure those European film companies won't be stingy with their money.

"About 50%, but if you can cooperate, you can increase the chances by another 20% to 30%."

Qin Keqing thought for a moment and said that considering the points he had, he had only exaggerated it slightly, not by much.

Especially the last point about increasing the chances by 20% to 30%, that's not an exaggeration. If Pierre-Lysent cooperates well, it can indeed increase the chances by 20% to 30%.

Pierre Lissent was clearly taken aback.

Despite being a seasoned film selector at Cannes and a close confidant of Gilles Jacob, the artistic director of the Cannes Film Festival, manipulating ordinary awards might not be too difficult for him. However, manipulating the Palme d'Or would be a bit of a challenge for him.

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Even when Gilles Jacob, the artistic director of the Cannes Film Festival, wants to decide on the Palme d'Or winner, he has to take into full account various factors. For a film to win the highest award, both talent and luck are indispensable.

"Qin, I'd like to know the general details of this movie."

Pierre-Lissent did not blindly believe Qin Keqing's words simply because they had a good relationship.

This wasn't about whether the relationship was good or bad, nor did he feel that Qin Keqing had deceived him. Rather, as a seasoned film selector in Cannes, he was very clear about the preferences of each of the three major European film festivals and knew which films were most likely to win awards.

He has his own judgment.

"The film delves into the depths of human nature, showcasing the alienation of humanity under extreme circumstances, and also breaks through ethical taboos to question human nature, blurring the boundaries between good and evil."

Furthermore, it contains implicit religious metaphors, encompassing both loneliness and redemption, and possessing an Oedipal tragic core.

Qin Keqing also wanted to know Pierre Lissent's opinion, so he explained everything the film was trying to convey.

Pierre-Lysent didn't say anything immediately, but closed his eyes and pondered for a while. Then he opened his eyes and said the first thing he said was, "Qin, do you want to wait until September? This type of film is obviously more suitable for the Venice Film Festival."

Qin Keqing certainly didn't want to wait until September, so he countered, "Pierre, do you have extensive connections in Venice?"

Pierre-Lissent understood Qin Keqing's meaning.

At least on the surface, Qin Keqing has deep connections with people in Berlin through his Beijing Film Academy connections, while Pierre-Lysten's greatest asset is Cannes.

As for Venice, connections are certainly there, but Pierre Lissent believes there aren't any connections that can decide the Golden Lion award.

"Qin, how can I cooperate with you?"

Pierre Lissent asked a question first, and then said, "Although the three major European film festivals have different focuses, the essential differences are not that big. A film that can win the Golden Lion in Venice can theoretically win the top prize in Berlin or Cannes."