This director loves making friends.

The Nativity of Our Lady on September 8th is an important Catholic feast day, one of the core feasts commemorating the Virgin Mary in the liturgical year, and one of the three officially celebrated birthdays in the Catholic liturgical year.

The Feast of the Nativity of Mary is not about redemption itself, but rather a commemoration of the birth of the Virgin Mary, a key figure in the plan of redemption, foreshadowing the coming of the Savior and the beginning of redemption.

The little girl in "The Man from Nowhere" can be seen as the arrival of his savior and the beginning of his redemption for the male protagonist.

Marco Müller and Pierre Lissent, true veterans, easily grasped the key points of "The Man from Nowhere," and the two also displayed great chemistry.

Without consulting Pierre Lissent beforehand, Marco Müller directly scheduled the premiere of "The Man from Nowhere" for September 8.

Pierre Lissent, on the other hand, used his personal connections to interpret and promote "The Man from Nowhere" in the media, focusing his interpretation on the theme of "redemption."

That's why they have such a great understanding.

The day after the premiere of "The Man from Nowhere", many media outlets published film reviews of the movie.

"...He lived in a dark alley forgotten by the world from the very beginning."

He kept the pawnshop door closed, sealing away all his past traumas and the pain of losing loved ones in the shadow of silence, much like many people who wander numbly through life.

Until the little girl burst into his world, like a ray of light without warning, breaking through the high walls he had built.

The moment the little girl was kidnapped by the gang, he was no longer the indifferent hermit. He grabbed a gun and stormed into the gang's hideout, cutting through violence and bloodshed, not for revenge, but to pull the only child who was willing to smile at him back from the abyss.

This subtly echoes the core of the Feast of the Nativity of Mary, whose significance lies in bringing the first ray of redemption to the world after a long wait.

The little girl was like a ray of dawn. She was not some extraordinary saint, but with the purest kindness, she saved a dying soul from numbness.

This mutual redemption, unfolding in the shadows of the city, lacked any sacred ceremony, yet just like a thousand years ago, proved that even the smallest glimmer of light can pull people back from the deepest darkness.

Qin Keqing put down the newspaper and looked at Pierre Lissent across from him.

This is already the sixth film review about "Redemption" that he has seen.

Are these articles that forcibly link the literary core of "Uncle" with the "Birthday of the Virgin Mary" reasonable? At first glance, they seem quite reasonable.

The little girl is the male protagonist's "Virgin Mary," and it is her innocence that "redeems" him.

But think about it carefully: what kind of place is Italy, the country where Venice is located? It is the seat of the Papacy, home to the Vatican, a state within a state with only 800 inhabitants, and the core of Catholicism.

In Venice, Italy, a city steeped in religious faith, a commercially driven film was linked to the Nativity of the Virgin Mary, and the media dared to report on it, moviegoers dared to watch it, and the Vatican did not object…

It's quite ironic.

Perhaps, in the eyes of the Vatican and those believers, the "redemption" in "The Man from Nowhere" is a way of promoting their doctrines.

Qin Keqing actually didn't really want the film to be associated with religion.

"Pierre, is this kind of publicity...?"

"Isn't that great? Haha, Qin, you're welcome. I'm very happy that 'The Man from Nowhere' made it into the main competition. Since I couldn't help in that regard, of course I'll do my best to promote the film."

Pierre-Lysent said with a smile.

"I know you tried your best, Pierre, I mean..."

"Do you know, my dear director, after these film reviews came out, the popularity of 'The Man from Nowhere' rose by more than one level. Before that, there were a total of four companies that tentatively offered to bid. Do you know how many there are today? Twelve!"

Haha... Qin, do you know what eight more companies mean? It means competition, it means more market share, it means higher copyright fees!

"You did a fantastic job, Pierre!"

Qin Keqing waved his hand and said, "All the expenses for hiring those film critics are worthwhile. We can deduct them directly from the copyright fees."

"Haha, Qin, since it's unlikely that our film will win any awards at Venice, we definitely need to boost its popularity, give it some special meaning, increase the copyright fee, and make a move before the awards ceremony."

Qin Keqing nodded firmly.

I can't speak for other things, but once "The Man from Nowhere" is given some special significance, its copyright in Europe and America will definitely sell much better, and the price will also rise accordingly.

Then, Qin Keqing thought of another purpose for making the movie "Uncle".

"Pierre, 'The Uncle' is not only about 'redemption,' but also about inheriting the fighting style of 'La Dolce Vita.'"

"Don't worry, Qin, look what this is. How could I forget this? It's your unique mark."

Pierre-Lysent said, taking a magazine out of his briefcase, "This is a sample of a program to be printed; it won't be published until tomorrow."

He flipped to the section with the bookmark and said with a smile, "Take a look at this first."

Qin Keqing took it and glanced at the cover; it was a copy of the French Cinema magazine.

Founded in 1944, French Cinema is one of the important official publications for international A-list film festivals such as the Cannes Film Festival and the Venice Film Festival.

It has a very large influence in Cannes and Venice, especially in the French-speaking region and the European film market, and has extremely high professional reference value.

The French Film Daily, published daily, covers festival updates, film introductions, premiere schedules, reviews, and summaries, and does not simply score the films in the main competition.

Of course, as a festival publication named after "France", French Cinema invites almost all film critics from French media to write, which is why Pierre Lissent chose this festival publication in the first place.

"When the final elbow strike in 'The Man from Nowhere' hits the concrete, we finally realize that the director, who just won two awards at Cannes, has not abandoned the fighting style of 'A Bittersweet Life.' Instead, he has pushed the cold, brutal aesthetics of hand-to-hand combat to a new and more poignant level."

Unlike the ruthless gang warfare in "A Bittersweet Life," "The Man from Nowhere" anchors its intense action sequences entirely on the emotional core of "redemption."

There are no unnecessary slow-motion stunts or fancy special effects. Every punch carries the numbness and regret that the protagonist has accumulated over the years, and every slash of the blade cuts through the shell of loneliness that envelops him.

Director Qin Keqing did not repeat the gangster narrative formula of his previous work. Instead, he used cold and hard fighting to wrap the softest emotional core. Those deadly action scenes were never meant to show violence, but to allow the audience to clearly feel the whole process of using fists and feet to smash open the light in the darkness with each impact.

With his second film, this director proved that his new "fist-to-fist" style was never just a temporary gimmick, but a unique cinematic language that could support the weight of humanity...

"what?"

Qin Keqing glanced at Pierre Lissent with some surprise. This kind of interpretation and reconstruction was not like the style of European and American film critics.

This writing style, which gradually elevates the theme layer by layer, feels so familiar.

"This is a well-written piece; it incorporates a new style of fighting while also touching on the theme of 'redemption.'"

"Right? I think it's fantastic too."

Pierre-Lissent smiled smugly. He knew that Chinese student was a talent; his interpretation of "La Dolce Vita" last time was excellent, and he would definitely ask him again this time.

The way "The Man from Nowhere" has been interpreted and reconstructed elevates its meaning far beyond what is expected!

"Just wait, once these deconstructive film reviews are released again, I predict that the copyright fee for 'The Man from Nowhere' will rise even further."