Is this what 1 has always touted as objectivity and professionalism?

Upon hearing this, the Canadian scholar on the stage changed his expression slightly and shifted his body somewhat awkwardly.

Meanwhile, a quiet commotion arose within the Chinese delegation sitting in the audience.

Jackie Chan's brows furrowed sharply, and his fists clenched unconsciously. Having worked in Hollywood for many years, he knew all too well how disgusting this kind of insidious prejudice was.

Zhao Shi, sitting in the first row, slightly turned his head, his gaze passing over the crowd and landing precisely on Lin Ruiyang, who was sitting behind him.

His eyes held a deep sense of expectation and probing.

Lin Ruiyang slowly raised his right hand, meeting Zhao Shi's gaze. The host on stage, seeing this, seemed to have grasped at a straw and immediately raised his own hand in response.

"Please welcome Director Lin Ruiyang from the Chinese delegation to speak."

With a whoosh, hundreds of eyes in the entire room locked onto the young Chinese face.

Lin Ruiyang stood up and took the wireless microphone handed to him by a staff member:

"Sir, your question seems very professional, but you are actually confusing two fundamental concepts: the cultural matrix of film and the monopoly of global distribution channels."

"What you call a lack of competitiveness is not essentially a failure of modern Chinese narrative texts, but rather a result of Hollywood relying on its globally exclusive theatrical distribution network and cultural hegemony built up over the past eighty years."

"Over the past few decades, Hollywood has built more than just a film industry; it has built a whole system of aesthetic education for a global audience."

"From theatrical scheduling and distribution channels to media evaluation systems, award discourse power, and the star industry and the export of English culture, Hollywood has accomplished a long-term shaping of the viewing habits of global audiences."

"Under this system, any film from a non-English speaking country that wants to enter the North American market is naturally at a disadvantage."

He paused, his gaze sweeping over the Western faces in the audience.

"So the problem has never been that Chinese films can't tell modern stories, but that when an ordinary New York love story told in English can easily get 3,000 screens, while a film about urban life in China might not even get 30 screens, your so-called market selection is already based on an unequal industrial foundation."

Some people in the audience had already started whispering among themselves.

A Canadian journalist in the front row even nodded subconsciously, because it was true.

The opening of North America's so-called "global market" has always been based on the foundation of the English-speaking world.

The reporter was clearly taken aback, but still retorted with a question:

"But at least for now, the Chinese films that are truly accepted by global audiences are still kung fu, period dramas, and oriental wonders, aren't they?"

"Of course not."

Lin Ruiyang laughed: "You're just used to taking what you're willing to accept as the only reasonable answer in the world."

Upon hearing this, several barely suppressed chuckles even rippled through the room.

Lin Ruiyang continued:

"In fact, Chinese films have begun to enter the stage of modern industrial narrative in the past few years. For example, police and gangster films, crime films, realistic films, commercial romance films, and even genre-specific suspense films have all formed mature industrial chains."

"Also, Warner Bros. bought the rights to 'The Departed' in 03, which Martin Scorsese announced he would direct last year, is also a Hong Kong crime film, right?"

The reporter's face stiffened instantly upon hearing the words "Infernal Affairs".

As a senior reporter for The Hollywood Reporter, how could he not know about this project?

In 2003, Warner Bros. spent a fortune to acquire the remake rights to the Chinese film "Infernal Affairs," while Martin Scorsese was busy filming this crime blockbuster starring Leonardo DiCaprio and Matt Damon in Boston.

The entire Hollywood is watching this film closely, considering it one of the top contenders for next year's Oscars.

"That's a Hong Kong film, and... that's a script that's been localized by Hollywood." The white reporter tried to make a final effort with his words.

"Hong Kong cinema is an inseparable cultural matrix of Chinese cinema, as for localization—"

Lin Ruiyang raised the microphone slightly, a hint of undisguised sarcasm in his smile:

"When Hollywood needs excellent modern narrative texts, you can buy them with capital, repackage them in English, and then take it for granted that it is a success for Hollywood."

When Chinese filmmakers use the same genre film logic to explore modern society, you turn around and accuse us of lacking the ability to tell global stories.

Sir, is this the objectivity and professionalism that The Hollywood Reporter has always touted?

These words, like peeling an onion, revealed Hollywood's long-standing cultural arrogance built on capital plunder, exposing its core interests.

"Slap, slap, slap."

A burst of applause suddenly rang out from the second row.

Everyone turned to look at the source of the sound and saw that Cheng Long had straightened up, his signature broad nose brimming with undisguised admiration. He clapped his thick hands vigorously, the sound echoing loudly in the silent lecture hall.

Immediately afterwards, Stanley Tong also joined in the applause.

Although Zhao Shi and several film bureau leaders sitting in the front row didn't immediately stand up, their eyes, as they turned to look at Lin Ruiyang, were filled with undisguised elation and shock. Exhilarating! This is the backbone and spirit that China's young filmmakers should possess!

Amidst a cacophony of stares, the white reporter's face flushed and paled in turns before he could only sullenly sit down.

The host on stage visibly breathed a sigh of relief and quickly replied, "Very insightful viewpoint, thank you Director Lin for your remarks."

The host then quickly steered the conversation toward the next questioner, but by then the atmosphere in the entire auditorium had completely changed.

Some people in the back row had already started taking notes quickly with their heads down.

However, the questions in the latter half of the forum were noticeably milder, with many local Canadian media outlets beginning to proactively inquire about the growth rate of the Chinese film market, the expansion of cinemas, and the creative environment for young directors.

The atmosphere of the forum gradually shifted from a cultural inquiry to a genuine industry exchange.

Two hours later, the forum finally ended.

The moment the host announced the end of the event, almost all the media members in the audience stood up at the same time.

Cameras and microphones immediately swarmed towards the Chinese delegation, and more than half of them were eyeing Lin Ruiyang.

"Ryan! Could you elaborate on your points about cultural monopoly?"

Do you believe that Chinese films will challenge Hollywood's dominance in the future?

Does the example of "Infernal Affairs" mean that Chinese-language films are exporting industrial narratives?

"I heard you're already in talks with Searchlight about a new project?"

The questions came crashing down like a tidal wave, even catching the staff responsible for maintaining order at the scene off guard.

They originally expected the interview to focus on Jackie Chan, but now the media has almost entirely surrounded the youngest Chinese director.

Cheng Long stood to the side, watching with amusement.

"Brother, do you believe me now?" Tang Jili said with a smile in a low voice, "This kid is really good at fighting."

"I apologize, everyone. Today's topic is the history and future of Chinese cinema over the past century, and I cannot disclose too much about my personal situation at this time."

Lin Ruiyang responded with a smile: "But what I can tell everyone is that Chinese filmmakers have never lacked the ability to tell modern stories; what they lack is a stage for the world to see them. And we are building this stage ourselves."

"Alright, alright, everyone from the media, Director Lin just flew to North America yesterday, let's give him some time to rest!"

At that moment, a loud, distinctive voice broke in.

With his years of experience honing his skills in Hollywood and his unparalleled international influence, Jackie Chan managed to carve out a path for himself among the reporters.

He put his arm around Lin Ruiyang's shoulder, laughed heartily at the surrounding Western reporters, and used fluent English to help Lin Ruiyang out of the awkward situation:

"If you want to know how amazing Director Lin is, you should watch his award-winning films a few more times! As for his latest projects, even I, as his older brother, am waiting in line for his scripts!"

With an international superstar personally joining in the banter, the surrounding reporters naturally had to give him face, and a burst of good-natured laughter immediately erupted on the scene, easing the previously tense atmosphere of the crowd.