State Media Steps In to Show Support

Chapter 80: Official Media Steps in to Show Support (Bonus Chapter for all readers who have previously given rewards)

A brief news item following the morning's new article.

The press release from Sin Chew Daily, titled "Young Director He Yi'an Wins Award at Venice, Chinese Realist Stories Go Global," was also reprinted by major official media outlets.

The article details the film's content and the significance of its award, concluding with the following paragraph: "This film combines international artistic expression with local values, serving as an excellent example of Chinese realist films reaching the world stage and demonstrating the creative spirit of the new era's literature and art in rooting itself in the people and staying close to life."

The daily newspaper's arts and culture section went even further: "From the everyday life of the old wharf, we can see the warmth of the times moving forward."

"The drama 'Fireworks in the Human World' breaks away from the pitfalls of deliberately being tragic and sharp in past realistic dramas. It tells stories of people's livelihoods during reform and development from an inclusive perspective, interpreting the warm responsibility of grassroots governance and the resilience and kindness of ordinary people."

"The film embeds patriotism in everyday life and integrates progress with neighborhood warmth. It has both artistic depth recognized by international film festivals and ideological height that resonates with the public. It is a benchmark work of positive energy realism."

After these three consecutive pronouncements.

He Yi'an finally saw the conclusion given by the State Administration of Radio and Television at the film screening forum that Han Sanping had mentioned: "The film accurately grasps the pulse of social development in 2002, focuses on key issues such as urban renewal and people's livelihood, and has a correct orientation, a gentle narrative, and realistic details."

"It not only showcases the historical process of urban transformation but also highlights heartwarming measures that demonstrate humanistic care and safeguard people's livelihoods. It breaks down the stereotypical prejudices of the international film industry against domestic realistic films, achieving a four-fold unity of mainstream values, artistic aesthetics, public resonance, and international appeal. It calls on the national film and television industry to learn from its creative approach of being rooted in reality and telling good stories about the lives of Chinese people."

After this statement was made, various local media outlets followed suit.

The Yangzai Evening News published a reader's letter directly. A retired worker from Nanjing wrote: "Old Zhou in the movie is just like my coworker back then. After being laid off, he also thought about opening a small shop and encountered various difficulties. The movie didn't shy away from these issues, but it tells us that as long as people are alive, there is hope. This is the real Chinese people, this is the real China."

The Yangcheng Evening News interviewed a local street director: "The scenes of opening shops in movies are not exaggerated at all—"

That's how our work at the grassroots level works; we have to follow the rules, but we also have to consider human relationships. Policies are rigid, but people are flexible. Helping others when we can is a part of the Chinese spirit.

, 7

These consecutive announcements completely silenced all the major positive print media outlets.

On Tianya Forum, the post by "Beidao Old Guest" has been pushed to the top of the homepage, with over 20,000 replies.

Following the official report, he posted a new thread with an even more provocative title: "He Yi'an: A 'Genius' Packaged by the Officials."

"Think about it, everyone. What makes an 18-year-old capable of securing investments from China Film Group, Emei Film Group, and Enlight Media? What makes Zhang Yimou write a letter of recommendation for him? What makes Gong Li protect him at the Venice Film Festival? Do you believe there isn't some powerful force behind this?"

"He Yi'an is not a person; he is a symbol, a symbol chosen, packaged, and used by the authorities to promote so-called positive energy. His success is not artistic success, but propaganda success."

"His films are not works of art, but propaganda."

"The red bear has fallen; are we going to create another red wave?"

"We don't want the rise of a great power; we just want the dignity of ordinary people!"

This post was reposted on various forums, and its influence spread rapidly.

At the same time, the arts and culture section of Xici Hutong is also bustling with activity.

Several veteran film critics co-authored a long article titled "He Yi'an and the Sixth Generation: A Showdown of Two Paths".

The article compares He Yi'an's films with those of other sixth-generation directors such as Jia Zhangke, Wang Xiaoshuai, and Lu Chuan, concluding that: "He Yi'an chose a safe, ingratiating, and opportunistic path. He uses warmth to mask reality, goodwill to avoid problems, and positive energy to whitewash the truth. The sixth-generation directors, on the other hand, chose a difficult but correct path, a truthful path, and a critical path. They confront the lower classes, expose the pain points of people's lives, and do not shy away from contradictions or whitewash the truth."

"The Venice Film Festival awarding the prize to He Yi'an is not a victory for art, but a victory for politics. Filmmakers with a real conscience should learn from the Sixth Generation, not follow He Yi'an's example."

This article resonated strongly in forums frequented by artsy young people.

What truly caused public opinion to spiral out of control was an exclusive scoop from an entertainment tabloid.

On the afternoon of September 8, Entertainment Weekly published an exclusive report titled: "Lu Chuan: He Yi'an has no chance of winning an award, Venice is a holy land."

The report details Lu Chuan's interviews after returning from Venice, as well as some videos and photos.

The reporter intercepted Lu Chuan at the Capital Airport. He had just gotten off the plane, dragging his suitcase and looking exhausted.

A reporter asked, "Director Lu, what are your thoughts on He Yi'an's film 'Fireworks in the Human World' being nominated for the Venice Film Festival's main competition?"

Lu Chuan stopped and sneered, "It's just being nominated, not winning an award. Dozens of films compete in the Venice Film Festival every year, but how many actually win?"

The reporter pressed further, "Do you think He Yi'an can win the award?"

Lu Chuan's expression instantly turned disdainful: "Impossible. Venice is a sacred place, not something anyone can touch. True art is about criticizing reality, exposing darkness, and viewing issues from an international perspective."

"How could He Yi'an's films, which don't take an international perspective, don't focus on the realities of the working class, and don't critique social issues, possibly win awards?"

He paused, then added, "Moreover, this year's chairperson is Gong Li. With a Chinese chairperson, it's inevitable that there will be a bias towards Chinese films, hence the nomination. But that doesn't mean Chinese films are truly qualified to win."

"Art transcends national boundaries; it cannot be obtained through personal connections."

This statement wasn't widely reported at the time, but the reporter from Entertainment Weekly held back from publishing it until He Yi'an actually won the award, at which point they dropped this "bombshell."

The news immediately delighted those online who were looking for amusement.

"Lu Chuan got slapped in the face! Hahahaha!" — This is what netizens who support He Yi'an said.

"Director Lu is right, He Yi'an's film doesn't deserve any awards at all, it's all thanks to Gong Li." — This is a comment from a netizen who opposes He Yi'an.

"Lu Chuan didn't even make it into the main competition, so she's criticizing others. That's so low." — This is what netizens who were watching the drama said.

But what really escalated the matter was Lu Chuan's reaction after being cornered by reporters again.

When pressed by reporters, Lu Chuan offered no apology or explanation, but instead launched an even more vehement attack: "I'll say it again, He Yi'an's film doesn't deserve awards! The Venice jury has been politically manipulated! Gong Li has been used! Chinese cinema has been used!"

These remarks were reprinted by various small media outlets and quickly made headlines.

The mainstream film industry in mainland China has actually remained silent.

All the previous public opinion was mostly from those who had a grudge against He Yi'an, public intellectuals, foreign lackeys, traitors, and filmmakers from Hong Kong and Taiwan. The mainland film industry remained silent and did not express its opinion.

He Yi'an is, after all, a student of the Beijing Film Academy, a disciple of Mu Deyuan, and someone in the industry.

Even if someone is dissatisfied, they won't openly express it.

After all, they're all in the same circle making a living, and no one's taking the lead, so they won't suddenly step forward for no reason.

But once Lu Chuan started this trend, it was like lighting a fire.

On the morning of September 9th, Wang Chao, one of the leading figures of the Sixth Generation of Chinese filmmakers and known for his underground films, publicly stated in an interview: "Lu Chuan is right. He Yi'an's films truly do not deserve awards. Venice giving him the award is an insult to art."

When asked by a reporter if he had seen the movie, Wang Cao shook his head: "No need to see it. You can tell what kind of movie it is just by looking at the synopsis. Realistic movies aren't made like this."

"A truly good movie should be like my film 'Anyang Baby,' which confronts the underprivileged, suffering, and darkness."

It can't be brushed off with a bowl of soup.

Another sixth-generation director, Liu Bingjian, also chimed in: "He Yi'an's success is a tragedy for Chinese cinema. An 18-year-old..."

A 12-year-old child made a film that praised the mainstream ideology, and it actually won an international award.

What does this mean?

"This shows that our filmmakers have lost their critical spirit and only know how to pander, flatter, and take shortcuts."

The most vehement criticism came from director Li Yang, who published a lengthy blog post titled "Where Has the Conscience of Chinese Cinema Gone?": "I've seen He Yi'an's films. They're entirely hypocritical, entirely beautified, and entirely full of positive energy. The suffering of laid-off workers is resolved with a bowl of soup, family conflicts are perfectly resolved with mutual understanding, disputes over demolition are smoothed over by neighborly assistance, and the voices of the underprivileged are drowned out by sentimental narratives."

"This is not realism, it's whitewashing; this is not art, it's propaganda."

"True filmmakers should be like Lu Chuan, daring to speak the truth, daring to criticize, and daring to stand on the side of the underprivileged. They shouldn't be like He Yi'an, who only knows how to flatter, only knows how to be opportunistic, and only knows how to grovel."

The three of them followed closely behind Lu Chuan, causing a huge stir in the literary and artistic circles.

But is He Yi'an all alone and helpless? Is there no one to speak up for him?

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