Hello and welcome to Roundtable, coming to you from Beijing.
I'm He Yang.
While the spotlight is shining brightly down in Fuzhou, capital of Fujian province in southeastern China for the 12th Silk Road International Film Festival, we are bringing the energy of this cinematic event right to you.
This year's festival is a spectacular record breaker, with over 3500 films from 135 countries and regions.
We're especially proud that 394 outstanding works come from China's Hong Kong, Macau and Taiwan regions.
A very warm welcome to Tang Ke Lun.
She is not only very active in youth affairs in Macau's special administrative region, but also a passionate advocate for storytelling through film, having directed and starred in a short film called Granny.
Welcome to the show, Keulan.
Hi, Hoyoung.
Thanks for having me here today.
It's great to have you on the show.
And so many of us have that one family member who feels like a pillar of our world.
Your short film, Granny, taps right into that universal feels.
What was the personal story or connection for you that made you say, I've got to tell this story?
Well, the short film Granny, what my role was that I served as both the director and actor.
The script itself was actually written by a crew member who wanted to honor the memory of his grandmother.
So in many ways, the film was a deeply personal tribute to her.
And what really inspired me as a director and an actor was the opportunity to explore and advocate the profound value of filial piety xiao.
So it's a really Confucius concept.
And I see it as a cornerstone of societal well-being.
And filial piety stems from love we share within our families.
But then this sense of virtue extends its impact.
It's far beyond that foster gratitude, drives self-improvement and inspires us to strive to become the best versions of ourselves for those who we love and when we cultivate this deep respect and gratitude within our families and naturally extends outward.
So not only does it motivate us to grow as individual and live with greater purpose, this virtue can actually translate into dedication in our work and even a deeper commitment to contributing to society.
So I believe this value creates a strong foundation for a positive and purposeful life.
And we don't just strengthen our individual character, we also build a more resilient, compassionate and united society.
You've just pinpointed why family stories travel so well across the world.
The core of and respect you're talking about, that is universal.
And regardless of where you are, you know, in audience in Jakarta, Istanbul or Tokyo or whatever it is might not know the specific traditions we have in China, but they feel that similar gratitude, especially towards granny right.
That's the emotional truth.
Also though, for Chinese people who grow up with this filial piety, thought or idea or practice or virtue.
However you see it, some people might feel that the other side of the coin could be a little bit restrictive, or could it be like too much of a burden, in a way, because you feel you need to perform.
But sometimes it's not for your own good.
It's for the good of you.
Want to impress or honor your ancestors or your older family member, a loved one, like that.
In modern day China, I think there is that kind of discussion.
Did you feel sort of you know the sort of intricacies of this?
Confucius thought it really depends on how we balance and utilize this virtue, and some people may feel it as a burden but others feel as a social responsibility, and how we perceive this concept really affects the way we behave.
For instance, if I were to put greater emphasis on filial piety, on my personal philosophy or my personal virtue.
I'm maybe a person who is more leaned towards collectivism.
But then, if I were more to be, value individuality more than filial piety, it might cause us to develop towards more of a individualistic person, and these kinds of differentiations in our perspectives towards life, our world vision, affects how the society develops.
And I think this is how these differences in philosophy affects how countries evolve.
And so you see how China, we think and behave more collectively as a whole.
Very interesting.
And we've seen a lot of collaboration in the film industry across the Chinese mainland, Hong Kong, Macau and Taiwan in recent years.
A recent example would be we've seen some exciting developments of cooperation between the China Film Group and Macau's cultural sector to cultivate film talent.
What opportunities do you think these collaborations open up for local film industry professionals?
And what unique energy or flavor do you see this combination brings to the big screen?
Well, macau have always wanted to develop its own film and music industry, but then we have always faced many challenges, primarily because we have a small market size and a limited local audience.
So for this reason, many macau filmmakers, actors and musicians they often treat their craft as a part-time pursuit while maintaining other full-time jobs.
But Macau does have a vision to establish itself as a international tourism and leisure hub.
So we see there have been some positive developments such that we see the Macau Government Tourism Office They have invited mainline productions to film here, which also helped raise Macau, the city's global profile.
While these efforts do enhance the visibility and public awareness, the real challenge lies in fostering a sustainable creative ecosystem where artists can actually dedicate themselves fully to film and music.
For example, Macau, we also have various notable musical talents like the Solar Band.
We also have Terence Siu-Fei.
Li Junyi, he's a songwriter.
And we also have Wu Zhuowen.
But then we see that their development or their success often comes with high opportunity costs due to the industry's limitations.
And a another thing is that macau also aspired to become a city of performing arts, but then to achieve this, deeper cross-regional collaboration is really important and really we really need this.
So if we could partner up with hong kong, chinese mainland, both of which have more mature entertainment industries, i believe macau can gain a deeper, a more valuable extra expertise, as well as resource and opportunities to nurture local talents to elevate Macau's overall cultural influence.
We're talking a lot about collaboration and I'm curious what is your favorite film from Macau or hong kong or maybe a co-production with the chinese mainland that has really stayed with you and what is the sort of resonate with you personally?
Um um, there are many films i really like.
You know, we have this movie called the captain what's a master class in suspense, or um, As well as the movie called the battle at Lake challenging.
It's also really good, like.
It offers a historical narrative of the development of China's is.
History.
But if I were to choose one that left and truly lasting personal impact, it would be Stephen chose the mermaid, me and you.
So what resonated with me is how the film masterfully balances Stephen Chow's signature comedy and a fantasy with a powerful, meaningful critique of ecological destruction.
As someone who grew up with his iconic humor, I was particularly moved by how he positioned this work not merely as entertainment but to deliver a compelling social message about greed and environmental responsibility.
And beyond its creative achievement.
The Mermaid is a perfect case study in the strategic benefit of co-production, especially for Hong Kong film industry.
So you see how this model is immensely beneficial because it dramatically expands the market and audience reach for Hong Kong creators.
And by partnering with mainland studios like China Film Group, A Hong Kong directed film like The Mermaid, it allows distinctly Hong Kong comedic sensibility to achieve a record-breaking box office reaching hundreds of millions of viewers who might not otherwise have seen it.
So The Mermaid demonstrates that successful co-productions are not about diluting local identity, but also about amplifying it.
It proves that, with the right creative vision, Collaboration can create films that are not only commercially successful but also culturally distinctive and socially relevant, ensuring unique storytelling continues to thrive on a grand scale.
Stephen Cho is Zhou Xingzhi.
I think more than a generation of Chinese people sort of grew up with his Hong Kong films.
And we've seen how his films evolve and sort of grander in scheme.
And also international film viewers probably know him. by a kung fu hustle and quite remarkable.
Yeah Colleen, your point about co-productions being an effective model reminds me of a great example this summer.
The latest Jackie Chan action thriller, The Shadow's Edge, or Bufeng Zhuo Ying, was a big box office and critical success.
It's a perfect case in point, produced by Chinese streaming giant iQiyi, with a cast and crew blending talent from Hong Kong, SAR and the mainland.
And it really shows that successful collaboration is the current reality of our film industry.
In today's world, how do you see the power of film and music going beyond entertainment to contribute to a nation's cultural prosperity?
And how can personal stories help shape the world's understanding of a modern, culturally rich China?
I believe that film and music are far more than just entertainment.
They're like the bedrock of a nation's cultural influence and creative energy.
We see this in how they shape the taste, the habits, and the hobbies of younger generations.
But their impact runs much deeper.
They project a country's image to the world, preserve its unique traditions, And it's also a significant part of the economy.
And the global reach of cinema today, we see that it's especially powerful.
We've seen how certain film industries can, over time, subtly influence international perspectives and even societal values.
And with that kind of influence, I believe comes with a great responsibility.
So truly impactful cinema has a role to play in promoting constructive values.
What I like to think of is like a sense of right, mindfulness.
So this means moving beyond pure escapism to create stories that encourage us to reflect, to think about ethics and to connect with our shared humanity.
And when films achieve this, it stops being just a mirror of society.
It starts to become a compass uh, gently guiding us towards a more thoughtful, hopeful and harmonious future.
A mirror versus a compass?
Is that what you said, Calanthe?
Yes.
What a fantastic way to put it.
It speaks directly to the responsibility of creators, I suppose.
Reflecting is one thing, but helping to imagine what could be is perhaps even better.
And that's a much higher calling for the industry.
The Silk Road International Film Festival right now is a great example of bridging cultures through film.
How do you believe films from Macau and Hong Kong and Taiwan can serve as a cultural bridge, enhancing the international audience's understanding of China's diverse and rich stories?
I think the Silk Road International Film Festival is a powerful initiative for cultural bridge building.
So the composition of its jury, with 13 distinguished Chinese and international filmmakers under the leadership of director Chen Kaige, creates a vital platform for genuine artistic exchange.
And it naturally facilitates a mutual appreciation of cinematic storytelling, which strengthens global creative relationships.
And I think the festival could more fully leverage the distinct cultural identities of special administrative regions like Hong Kong and Macau, Rather than presenting a singular narrative.
The SAR regions offer invaluable hybrid perspectives.
For example Macau, with its unique blend of Eastern and Portuguese heritage, can tell stories that resonate with both Chinese and Lusophone audiences, acting as a natural bridge to vast international markets.
And this approach does more than just enriching the cultural dialogue.
It also deepens cultural understanding while unlocking substantial commercial value.
So by championing these diverse stories, the festival opens the door to new audiences across Silk Road regions.
And this expansion not only broadens the global reach for participating film industries, but it also creates a symbolic win-win dynamic.
And in this framework, cultural ethnicity and commercial success are not at odds.
They actively reinforce each other on the world stage.
Thank you so much, Tang Ke Lan, for sharing such heartfelt insights with us today.
It's been such a great pleasure speaking with you.
Thank you so much.
And staying with that theme of using cinema to foster understanding.
We're now joined by director Song Zhuofei.
His upcoming film Best Friends, or 最好的朋友 in Chinese, aims to promote a very meaningful kind of social dialogue by focusing on the story of an autistic teenager, offering a perspective that encourages inclusivity and awareness.
Director Sung, welcome to Roundtable.
Hello.
Good to have you.
Your upcoming film Best Friends explores themes of friendship and understanding through the story of a teenager and an autistic youth.
Its focus on human connection seems to resonate deeply with the Silk Road Festival's goal of using cinema to bring people together.
What inspired you to tell this particular story and what deeper human need for connection or understanding do you hope it speaks to?
The movie is about understanding each other and accepting each other, and especially accepting the differences between each other.
I'm thinking about one of the huge influence on me from my favorite band, Pink Floyd, because one of their songs is called Us and Them.
It's from their, for me personally, their best album, Dark Side of the Moon.
And Roger Waters, the writer.
He once said he thinks the ultimate issue between human race is between us and them, which just makes me think a lot about particular line.
I mean, that's on a global level.
And if in the micro level, it's two single individuals are just very different.
The difference causes problems.
So it's just really important to understand each other in order for us to live peacefully and happily in this very complex society.
I think we all know this example.
It's a story.
One day, a guy is on a bus and his daughter is running around making noises.
And one of the passengers on the bus said could you just tell your daughter to be quiet, or whatever?
And he tells the passenger, I'm sorry, I wasn't paying attention because my wife just passed away.
Once the passenger understands what's happened to him, and he would understand, oh, that's why.
So, you know, it's just one example about understanding each other, which is very important.
That's a powerful thought.
That true understanding begins with seeing the world through another's eyes.
But can we sort of give each other that benefit of the doubt or just a few minutes of time?
I don't think I do it very well personally.
I mean, it's impossible to invest your time into everything you see.
But just the act of trying, the idea of trying, it's important.
Yeah.
Before turning on the mic, we had a little chat, and the production of your film Best Friends itself is a beautiful example of collaboration, bringing together film professionals from the Chinese mainland, Hong Kong, and even other international talents.
What's your experience of working with this rich mix of perspectives and And how has this collaborative environment influenced the final film?
I think it's great always say art has no boundaries, which I think I personally had experience of that.
Artists from different parts of the world.
They all have their unique life, their unique experiences and their unique aesthetics and unique eyes of seeing things.
And the beauty of filmmaking, it's the beauty of collaboration.
That's the nature of film business by bringing different aesthetics together and turning into something unique.
I think that's just the nature of the business.
Could you give us sort of the makeup of your team and crew?
I think I was very fortunate to meet them, end up working with them.
Yeah, like Daniel, he's one of my executive producers.
He's a veteran filmmaker from Hong Kong. great guy and he likes my story.
And when I began casting for actors and actresses.
I don't want to restrict myself into the professional casts.
I also want to find untrained casts, if it's possible, which this very specific approach.
Daniel had a very similar experience when he was young making movies, when he was making like really low budget movies and they had to find non-trained casts.
So he understands me.
So we just moved into a direction which we both understand.
My production designer is from Taiwan.
We shot the movie in Xiamen, which is very close to Taiwan.
We met in Beijing and we talked about our movie.
She came up with a really good proposal with concept design.
She understands what I want pretty well.
Making a movie, it's also about making friends.
It's very interesting.
I think in the film collaboration process you look for someone who thinks similar with you, but at the same time you're looking for the differences.
The diversity of the background of the team itself becomes a creative resource.
Building on that idea, film is a powerful medium for cultural exchange.
From your vantage point, how can movies contribute to the vitality of our culture here and promote mutual understanding on the global stage?
The nature of filmmaking is art.
It's artistic.
Regardless, it's about culture. about you know making money or is a box office thing it's a product you know whatever you want to do with it how do you say it it's uh the artistic nature of filmmaking it's it's in this dna it's it's what it is i remembered in the united states in the afi um like conservatory of film when they select a film find three words very interesting i think it's uh it's historically culturally, and I forgot the last word, correct to be selected.
So filmmaking, it's really, it's a part of history.
It's a part of culture.
It's about what is happening right now, or contemporary artists to recall something from the past, or about the future.
So by nature, it's a record of culture.
When you're making the film or when you try to come up with the project, do you sort of consciously think oh, I want to make something that's got your own unique mark on it, or do you think about, might this be what the audience would really enjoy and let me just try to channel towards that?
Or is it more of a, I guess, artistic pursuit?
From my personal point of view and from reading, you know, from watching things and all the great artists I know are The fundamental energy of creating, I think any form of art is you want to say something?
There is a voice.
You have to let it out.
At one stage in my life I happened to get to know people with autism and from not knowing what they are, who they are, and began to to study to learn to know about it.
And I felt there was a force which drives me to do it.
It's not like I want to do it for something.
No, it's a natural thing.
And then as I was doing research, I wanted to tell this story.
And so basically I spent everything on it just to make this story into a movie and make it happen.
And the Silk Road International Film Festival is all about building cultural bridges.
Looking at the broader landscape, what do you feel is the most important message or story from here that we can share with the world?
It can be related to my movies, but it's about accepting the differences between each other.
Because Our country has such a long history, have so many different ethnic groups of people and different cultures all emerged to one.
So I think historically, we are a country about accepting, you know, the differences.
It's about understanding and be open and be embracing of things.
Director Song Zhuofei, thank you for sharing your vision with us today.
It's been truly inspiring to hear how your work on Best Friends and your thoughts on the future of film, which aligns with the goal of this festival to build understanding through storytelling.
We wish you the very best with the film's release and look forward to the stories you'll tell next.
Thank you.
Thank you.
