SIFFORUM | To Embrace and Reshape in Her Film Era

Recent years have witnessed an increasing number of female characters outshine dazzlingly on the screen, pursuing their self-worth with a fearless attitude. Behind the scenes, female filmmakers, with their extraordinary talent and unique perspectives, defy clichés and embrace themselves at the present moment, documenting the growth and changes of modern women through cinematic languages.

This year, SIFF continues its collaboration with Dior, paying tribute to outstanding and influential female filmmakers. At the event, Chen Zhixi, Chairman and CEO of WANDA CINEMAS, was honored as the “SIFF X DIOR Annual Female Filmmaker of 2024”. She noted that the independent spirit and wisdom of women can give rise to anything, hoping that all women can develop their own independent personalities and shine with their talents.

Chen Zhixi 

Chairman and CEO of WANDA CINEMAS

When it comes to embracing, I believe it’s embracing one’s true self, and of course, the truest self is often the imperfect self. We usually encourage people by saying to be confident, to believe you are the best, but sometimes you aren’t the best. You need to have a clear understanding of yourself, your state, your abilities, your relationships with others, and your relationship with the world around you.

I expect to find directors with firm self-expression, not just catering to the market taste. For example, if a certain story template, such as road movie, is popular, people may go after it and limit their films to that type. That’s not a wise choice. It doesn’t necessarily have to resonate with the popular atheistic, but the message conveyed must be valuable with a determined expression. I would very much like to collaborate with such directors. I have always believed that the film market should have a variety of genres, and every creator should have full desire to express themselves.

Qin Haiyan

Director/Screenwriter

For me, the word “life” is deeply intertwined with every aspect of my work. I initially chose to be a screenwriter because I felt that the way screenwriters work allows me to approach filmmaking while balancing family and life. When writing LOST, FOUND, I also incorporated my own experiences. I think it’s very difficult for women to balance between family and career, but around me, there are indeed many excellent women who shine in the chaotic life, so I want to portray them in my work. If I were to summarize these years in one sentence, it would be, “I will embrace whatever life brings to me.”

I’m not someone who’s afraid to face problems. As for me, intimate relationships are opportunities for self-cultivation and growth. So, why you are afraid of facing them? I think we should embrace all aspects of life and emotions passionately and courageously. But the audience’s feelings at that moment also made me reflect. It seems that I’m always critical or judgmental towards others. Why? So, in a piece I’m currently working on, I want everyone to feel warmth, to mirror the emotions and social emotions they are currently experiencing.

Su Biao

Director/Screenwriter

The most important thing for me in transitioning from a screenwriter to a director is courage. From being an independent writer to a manager and decision-maker in the film realm, the journey of psychological transition is very long and I’ve faced moments of hesitation. When you retreat, you always prefer to think about it tomorrow instead of today. The shift from screenwriting to directing also stems from a deep passion for my work. Stories at our fingertips may appear in one way, yet on monitors and the big screen, another way entirely. So, driven by the demanding desire to present intact content and to restore characters, that’s when you feel the impulse to become a director.

As young directors and screenwriters, what should we reshape in the current film landscape and content environment? My idea is that we should focus on telling more Chinese stories. Currently, we are predominantly schooled in Western frameworks, encompassing our narrative structures, character development methods, and even filming and editing techniques. With the Chinese film market being so vast now, it’s imperative that we continually turn our gaze inward, rather than simply observing how our foreign counterparts shoot films on iPads. We don’t need to cater excessively to what we think Western audiences might find interesting; instead, now that we have our own industry, our own content creators, and our own platforms, we must adeptly utilize the tool of cinema to constantly reflect on ourselves.

Teng Congcong

Director/Screenwriter

If we were to cater to the market, trying to guess every day what is popular among people, I might never truly understand what it takes to please others. I can only sincerely express what I like and shoot the works that resonate with me. Even Spielberg might not aspire to please the largest audience; rather, what he loves often aligns with a broad audience base. This journey is also about finding my own style, and testing how many viewers I can connect with. If there are fewer viewers, I’ll make lower-budget films to minimize investors’ losses. If I can resonate with more viewers, then we can afford to make in a more sophisticated way and delve into details with more funding.

In my scripts, much of the wise side doesn’t originate from me personally. I simply have observant eyes that have seen many exceptional women in life, who form the diverse female characters in my scripts. Shaping female characters comes naturally for me; I always manage to discover their brilliance, which strikes me and prompts self-reflection. As for what I created, the melancholy and mocking tones are uniquely mine, while all optimism and positivity stem from the women I know around me.

Wang Ziwen

Actress

I believe embracing oneself means reconciling with oneself, which I realized starting from last year. I have a somewhat impatient and overly direct personality. Previously, when faced with external criticism, I would try hard to convince myself to make adjustments, but later found that I couldn’t truly make it. So, I decided it’s better to honestly face myself and learn to accept both strengths and weaknesses. As an actress, only by truly understanding myself can I portray the most authentic emotions. Now, I’m keenly aware that my fundamental character traits are timid and insecure. This process is my way of embracing myself and a journey of personal growth.

The relationship between roles and actors or actresses is like falling in love; you must feel a connection to them to have the drive to create. There are no specific criteria for this judgment. Of course, besides the role and the script, it’s crucial that everyone involved, including producers and directors, can reach a consensus. I don’t care if someone is a new director; if the project aligns with my interests and everyone shares the same vision, then let’s proceed with it. I don’t ponder too much about the outcome at the beginning because I feel it’s not something I can control.