This director loves making friends.

"When I watched this movie, it was like stumbling upon an ice-cold beer at the corner of an alley at night. It was strong at first sip, but after swallowing, there was a bit of bitterness left in my throat, and the aftereffects were quite strong."

The male protagonist, standing in the hotel corridor, cast a long shadow, much like us when we were young, thinking we had everything firmly in our grasp, only to find it all shattered when we let go.

Qin Keqing's cinematography is intense, with gunfire and chases, the pace is so fast it's breathless, but I always feel that he still retains a bit of gentleness in his bones, otherwise why would he leave a place for that flower in such a ruthless story?

When I make movies, I like to zoom out and let things happen on their own.

While watching "A Bittersweet Life," I was thinking that if I were to direct it, I probably wouldn't make the gunshots so sudden. I would give the hotel's floor-to-ceiling windows a few long shots, letting the rain slowly hit the glass, and letting him sit alone in the empty restaurant, lost in thought for a long time.

However, Qin Keqing had his own strength; he slapped at the man's stubbornness and unwillingness until it felt as if it had been roasted by fire. Where is there any truly sweet life? It's just that little bit of something you can't bear to let go of before you're fighting desperately.

Qin Keqing's films are about gangsters, but at their core they are about Eastern philosophy and destiny.

Qin Keqing's camera work is very quiet, with many long takes, showing people staring blankly, watching the rain fall, watching blood slowly flow out... Violence is not used to show off skills, but to demonstrate the ruthlessness of fate, with a cold beauty, like a poignant poem.

In the final dream, the disciple said he had a sweet dream, but he cried because the dream was too beautiful and reality was too bitter.

The protagonist's life may have only tasted a true sweetness at the very last moment—the taste of freedom, though brief and bittersweet.

I think the director has big ambitions. He wants to use the narrative of a commercial film to explore the possibilities of telling an art film story. If an internationally renowned director made a film like this, I think it would only be considered passable.

However, this is Qin Keqing's first film as a director, which is extremely remarkable. I think it deserves at least a 95 out of 100.

I spoke with director Qin Keqing, and he said he wanted to pay tribute to the film "La Dolce Vita," which won the Palme d'Or at the 13th Cannes International Film Festival.

"La Dolce Vita" is a backward elegy, lamenting the loss of faith and meaning; "La Dolce Vita" is a forward swan song, praising the tragic burning of individual will under absolute order.

As for the correlation between the two, I'll write an article to analyze it if I get any inspiration.

Hou Xiaoxian spoke very slowly. His English was not good, so he used a combination of words and gestures, and in some places he needed the help of a translator.

However, upon closer examination, his comments on the film seem to have a somewhat "deliberate" guiding tone.

The unavoidable drawback of commercial films' fast pace has been interpreted as the director's ambition, and as an attempt to explore the possibilities of art films using the narrative style of commercial films.

It also mentioned the long takes, philosophy, and fate that art films often use.

It also mentioned experimentalism and paid homage to the Palme d'Or winner, "La Dolce Vita".

Finally, it was emphasized that this was the debut film of a young director.

These seem to be almost entirely advantages.

Was Hou Xiaoxian wrong?

No, because it's all true.

That's the power of language.

Hou Xiaoxian is a director who has won the Golden Lion Award, so his words will definitely be taken as an important reference by the media, film critics and judges.

After the premiere, Qin Keqing told Pierre Lissent about Louis Mahle's reminder.

If Pierre Lissent can win over judges Claudia Katina and Inna Chulikova, Qin Keqing won't have to waste his points.

If all else fails, he'll use points as a last resort.

"Don't worry about Claudia. In a judging panel, there always needs to be some different opinions at crucial moments, otherwise, it will be criticized by those with ulterior motives."

Pierre Lissent didn't say it explicitly, but the meaning was quite clear.

"As for Inna, she is a former Soviet citizen. You know, these Slavs have been trying to make their presence felt in various situations these past two years."

Pierre-Leister tapped the table lightly with his fingers, thought for a moment, and then said, "Inna has won the Best Actress award at the Berlin Film Festival, and her husband, Gribb Panfilov, has also won the Golden Bear at the Berlin Film Festival. I'll try to approach her from the Berlin side and see if I can 'convince' her."

He then comforted Qin Keqing, saying, "Don't worry, it doesn't matter if you don't win the special award. No one can compete with you for the Golden Camera Award."

On May 19, the world premiere of "Farewell My Concubine" was held. The Cannes Film Festival officially arranged a prime time slot for "Farewell My Concubine" at 5 pm.

Qin Keqing took Zhu Yin and Lin Guobin to the premiere.

Chen Kaige was far from the arrogance of later generations; he possessed a melancholic air of a middle-aged artist, and was very low-key and humble.

Even before the Cannes Film Festival opened, Pierre Lissent and Diamond Pictures began promoting Qin Keqing and "A Bittersweet Life," and Qin Keqing gave many interviews after the festival opened.

Especially after the premiere of "La Dolce Vita", Pierre Lissent and Diamond Pictures really put their efforts into it. The film was "interpreted" in various ways by the media and film critics. It was not only defined as an experimental film, but its artistic value was also "deeply explored".

Many film critics say the director buried the art too deeply, with the cinematic art hidden in seemingly insignificant scenes…

Qin Keqing is also known as the biggest discovery of this film festival.

Therefore, after the premiere of "Farewell My Concubine", Qin Keqing was surrounded by many reporters who wanted to hear his opinion on the film.

Chen Kaige, who was "seeing off" guests not far away, even moved closer and pricked up his ears.

"Farewell My Concubine is not only a film about the fate of Peking Opera performers, but also a microcosm of modern Chinese history spanning half a century."

The film intricately intertwines personal destiny with the tides of the times, showcasing the complexity and struggle of humanity in extreme circumstances through the character of Cheng Dieyi.

The film is perfect in terms of narrative structure, audiovisual language, and acting, especially Zhang Guorong's portrayal of Cheng Dieyi, whose obsessive dedication to art is deeply moving.

In conclusion, *Farewell My Concubine* is a work worthy of repeated appreciation. It not only records a period of history but also leaves behind timeless themes about art, life, and humanity.

After Qin Keqing finished speaking briefly, he suddenly remembered Pierre Lissent's joke that the jury wanted to give Zhang Guorong a Best Actress award.

Of course, this is a joke, just some judges were joking. It's impossible for the judges to vote for male actor Zhang Guorong as the best actress. Cannes certainly wouldn't make such a mistake and embarrass themselves.

Even if you were to give it to someone, it would be a Best Actor award.

Zhang Guorong is one of the strongest contenders for Best Actor at this year's film festival.

Qin Keqing, with the intention of saying something nice to Zhang Guorong if she could help, and not being able to help would not be a big deal, organized her thoughts.

"It is worth mentioning that I think Zhang Guorong's portrayal of Cheng Dieyi transcends the scope of mere acting skills and reaches the artistic height of the unity of actor and role. He is not just playing Cheng Dieyi, but bringing Cheng Dieyi to life."

His every smile, gesture, and movement on screen conforms to the conventions of Peking Opera female roles, yet he also incorporates the character's unique gentleness and sorrow. Whether it is the dazzling brilliance on stage or the loneliness and desolation in life, he perfectly presents it through delicate micro-expressions and body language, achieving not only physical resemblance but also spiritual likeness.

His performance not only brought the character to life but also elevated the film's theme, making Cheng Dieyi one of the most irreplaceable classic characters in film history.

After Qin Keqing finished the interview, Chen Kaige breathed a sigh of relief, but at the same time felt a little guilty.

He felt that he had only talked about the Eastern philosophy of "A Bittersweet Life" in the interview, without praising the actors or the film's themes. Upon reflection, he realized that the Hong Kong actor's performance was actually quite good.

And Qin Keqing? He praised every aspect of "Farewell My Concubine," which is truly...

What a kind person!

On May 24th, the 46th Cannes International Film Festival awards ceremony will take place.