Alas!This female movie forum is too female anymore

If gender theory, these two years are definitely two years when the women's movie people are brilliant.

Last year, "Titanium" directed by Julia Dikono, "Alkallas" in Kara Simon, and "Zhengchen" directed by Audrey Diwan.

Three female directors have won the highest award of the three major European Film Festival.

This year, Jane Kupien won the best director of Oscar with "The Power of Dogs".

The continuous efforts of female filmmakers have made the global film industry.

In the tide, domestic female shadows have also contributed to the well -known female theme films "Spring Tide", "Spring", "Rabbit Violence" and so on.

Female filmmakers have formed a very topical power, and works related to female filmmakers and women's themes quickly become the darlings of major film festivals.

Yesterday afternoon, the "Women's Power presented in the creation" hosted by the Chinese Film Directors Association and specially supported by Chanel Special support of Chanel was held in the China Film Museum.

This is another cooperation with film art after Chanel in recent years after the Cuibeica Film Festival, Caesar Award, Busan Film Festival, and Duwei American Film Festival. relation.

The forum was chaired by Hong Huang, the chairman of the Chinese Film Director Association, the sponsor of the Scallion Program, and the curator Li Shaohong of the film festival, the producer Liang Jing, the actor Hai Qing and Bai Xue, and Geng Zihan attended the meeting.

Different from expectations, this is a complete "not female" female movie forum.

01

Bai Xue: "Spring" conception has nothing to do with "women's consciousness"

After the forum was scheduled to be screened in the movie "Spring", the topic naturally started the journey of the heart of "Spring" when Director Bai Xue created "Spring".

Friends who have watched "Spring" know that this is a youth film with a very girl's growth. Pepe in the film moves to Shenzhen and Hong Kong to go to school. In this process, the love of the girl's age, friendship and family, have become the passage of life that Pepe needs to spend.

As Hai Qing, who was watching the film for the first time, described in the conversation, the film exhausted the subtle growth mentality of young women.

"Music should start when emotions", "Many girls' things really can be captured by female directors."

Liang Jing "I liked the script at that time, and I really wanted to play the mother in it."

Li Shaohong was impressed by Bai Xue's self -confidence.

This is such a work described by all seniors as "determination, confidence, and full of feminine expression". In director Bai Xue, she is her "completely unconscious choice."

For "Spring", Bai Xue's most mentioned words are not "women" and "girls", but "cross -border school children" and "water passengers".

Bai Xue, who grew up in Shenzhen, was very familiar with the life of Shenzhen and Hong Kong, and was also curious about the huge "cross -border school children" group.

"Seeing 'cross -border school children' I will think about whether it is not common in the world. They are facing the living environment and impact on both sides. The story naturally causes internal tension. This is a primary judgment ..."

From the beginning, Bai Xue didn't think of any female themes and women's stories, let alone any feminism.

It is just a preliminary judgment from a group of "cross -border school children".

"At first I wanted to shoot children, because under the influence of Hong Kong's childhood policy, there were a large number of school -age children who could enter school in Hong Kong." But the reason why the child at this age is also very simple, "because the children's drama is too difficult to play too much, it is too difficult to play too much. I took a picture, so I gave up. "

When saying this, Bai Xue's face revealed a very capable and professional look. Of course, her decision was also the correct choice of a professional director.

"Children can't take pictures, so I thought about taking a middle school student, around 14-16 years old." As for why he was a 16-year-old girl, this answer was still irrelevant. "16 years old in Hong Kong is a age that can make money part -time to make money."

Therefore, during the creative time of one or two years, Bai Xue met several cross -border school children at the fifteen or sixth -year -old, and became a "good friend" with them to understand their daily life and their psychology.

At this point, the story of a 16 -year -old cross -border school child has gradually taken shape.

See, the entire process of character growth is almost unsatisfactory with the "female growth" we see today.

When this pre -creation history was finished, Bai Xue basically torn off the labels related to women's movies and women.

This is actually a process full of magic.

A "feminist director" that the public thinks is that the gender expectations given by others in a film forum that shows "feminine power" are all ended.

Of course, this is not enough "female", but it is real enough.

02

Female director's question "How to balance family and career"

Li Shaohong shared the first awareness of the social identity of "women" in his youth.

The fifth -generation director experienced the era of planning economy. Director Li Shaohong's North Film Factory had more than 20 active female directors during the same period. This number was even caused by the reporter at a foreign film festival, which even caused foreign outside Media's amazing. "At that time, we paid attention to women who could top half of the sky. The directors of the directors were assigned to various studios to do related work, and gender will not take gender as a factors for consideration."

What she really started to be aware of the identity from "director" to "female director" was the Fourth World Women's Conference held in Beijing in 1995.

"As a female director representative, I followed Teacher Yu Lan and entered the conference venue. When I heard the conference talking about gender identity and gender issues, I felt impact on the first time because of gender."

In recent years, Li Shaohong feels that he is constantly reminded by the outside world. At the major film festivals, female filmmakers will be described as "female director", "female screenwriter", "female producer", "like female director this The matter is very special. No one will introduce a director to 'male director'. "

"Whenever interviews, every reporter asked, 'As a female director, do you think it is more difficult than a male director?'" Li Shaohong talked about the required answer in the interview. It is difficult, it is difficult to be the director's feelings. But if I want me to compare with the male director, I really can't compare it, because I have not been a male director, I don't know where they are. "

This immediately resonated with the guests at the scene.

Bai Xue followed closely, saying that he would ask more in his interview, "How can you balance your career and family?"

This problem made the atmosphere of the audience instantly.

Li Shaohong felt from his past experience that "Social and History will make a convention to make you a certain category. The gender label of the" female director "seems to be reminding you that the director is not a woman's occupation ... as a benchmark as a benchmark ... There. "

03

Women are not just a perspective

From the perspective of the producer, Liang Jing proposed that "a good creator should be 'male and female" ... good creators can tell this story no matter what time. "

In fact, when the outside world tries to define a profession and an art with gender, it is originally a kind of solidification and narrowing. Fortunately, these female filmmakers maintain a high degree of sensitivity to this.

Speaking of women's perspectives, Li Shaohong said: "Now the female perspective seems to be attributed to mothers and daughters, love, and children. In fact, there is nothing special about women's perspectives. one of them."

Bai Xue even asked directly: "Do the female director's shooting must be related to feminism?" Obviously she didn't think so, "I am not, I just interested in others, regardless of men, women and children." Even Bai Xue did not deny that he was "more resistant to" feminism ". When someone said that it was a" female perspective ", I would justify it."

Hai Qing also cut in from his new work "Hidden Dust Smoke", talking about the creator should have a wider field of vision.

"If a creation is just judged from gender, it seems a bit weird. Professional does not distinguish between gender, the perspective does not distinguish between gender, or at least it should not only have such a division. You can't say that it is a female perspective because it is a female director, too one -sided. "

This is a very interesting phenomenon.

On a forum with a female film power, this group of female filmmakers are expressed hardly that they do not want to completely bind them with "feminism" and "female themes".

Even if they have experienced the "preferential treatment" enjoyed by the current context as a female creator.

As Geng Zihan and Bai Xue said, he was "dipped."

When Bai Xue took "Spring" to participate in the Toronto Film Festival abroad, because the film involves women's themes, it will be placed in a more important position and a better exposure. She clearly knew that "this is related to the trend of the current society."

Geng Zihan, the younger post -95 director, used "diploma" to describe his luck.

In the 5th Scallion Program, Geng Zihan’s "Little White Boat" is the group that entered the shooting earlier. Of course, she is very good enough, but compared with the people around, she is really lucky. This lucky is lucky. "I am touching this light because of the bonus brought by her identity and the theme of women.

"I don't have women for women, this is not the original intention," but inadvertently, the entire creative team of "White Boat" has almost from Liang Jing, the producer, photographer, art, two heroines, etc. All women.

Geng Zihan bluntly said: "I know that I have been stained with light and resonate with the current social trend, but how long is this trend, what will happen in the future?"

04

Put down gender and break the art boundary

Pay attention to gender, explore gender, and then let go of gender.

They have understood that women's creators should not be trapped in gender issues. As Geng Zihan said, "Our current attention and expression is for one day, it can no longer become a topic."

The new film that Bai Xue is conceived is also completely irrelevant to the theme of women. It is a multinational criminal film about ivory smuggling. "The director's distinction has nothing to do with gender perspective, but in the view of people. Explore the question. "

Geng Zihan said that creation should not be too theme first. "I always think that women may not be able to write anything. Creation is instinct. It originated from my concern about society. What I care about."

These women who are also "not women" talk about how to push their creations to a wider world in this forum.

They just happen to be women, and they do not mean that they can only shoot women.

When we move our eyes from movies to art, design, and fashion, we will find that we will break the stereotypes, break the art border, and cross the industry's barriers.

It is like Ms. Garrier Chanel can be unique in the fashion industry, and can share contemporary art with artists such as Picasso and Dali, and even in the Golden Era of Hollywood, French Sina, Pioneer Films and other film types. Zhong also called Bole.

In the golden age of Hollywood, actresses such as Gulita Garbao, Marin Dedeli, Gorolia Swansen have all wore clothes designed by Chanel in the play.

In recent years, a large number of films such as Café Society, "Greta", "Once Upon A Time in Hollywood" are present in a large number of videos.

In 1960, Alain Resnais, a representative of the French wave of Sina, also invited Chanel to design the heroine's costume for his masterpiece "Last year in Malion Bad".

"Last year in Marion Bad" stills

Under the concept of the founder's Ms. Gablier Chanel, for decades, the relationship between Chanel brand and movies has been natural and long.

Not just costumes, in 2018, for half a century, the Chanel brand fully funded Allen Rai Nai's film "Last year in Malion Bad", and on September 5 of the same year at the Venice Film Festival on September 5 of the same year at the Venice Film Festival Exhibited.

The relationship between Chanel and the movie is far more than that.

Chanel also gives comprehensive support for female filmmakers and women's theme movies. Last year, "Spencer" and "Annite", which caused considerable response at the International Film Festival exhibition last year, both had Chanel funding.

Kristen Stewart plays Princess Diana in "Spencer"

At the same time, at the Cuibeika Film Festival, the Busan Film Festival, the Caesar Award "Révélations" project, and the Duwei American Film Festival, there are funding awards set up by Chanel.

Today, Chanel has also established a richer correlation with young domestic directors through the green onion plan.

The image set the course of Chanel, and Chanel is also rich in the beauty and level of the image.

Ina Claire and Chanel, 1931

This is the power of women and the power of images.

This power is firm and full of toughness. In their professional fields, they have a firm confidence in their level.

It's like the original intention of Ms. Chanel's design that is popular all over the world -unremitting pursuit of freedom.

At present, maybe they will still be asked "how to balance the family and career", but one day, this will not be a valuable issue.

They crossed the gender and creative boundaries, creating that day with images, art, and hands with both hands.

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