If you ask any Chinese indie auteur to name their favorite film festival, it’s highly likely that they will direct you to the city of Xining, China’s historic gateway to the vast Tibetan Plateau. The FIRST International Film Festival, held in Xining, has established itself as China’s premier indie event and has gained comparisons to the prestigious Sundance Film Festival. Renowned for its ability to uncover exciting new cinematic talent, the festival has become a launching pad for emerging directors. This year, the festival will showcase a selection of 98 films, including 27 features and 71 shorts, with many of them being the work of first or second-time directors.
The co-founder of FIFF, Song Wen, a former financier-turned-producer, writer, and director, has been instrumental in shepherding the festival through its 17 years of growth and change in the Chinese film industry. The festival has played a crucial role in nurturing and promoting the careers of some of China’s most distinctive and influential cinematic voices, such as Wen Muye, Xin Yukun, Zhang Dalei, Shao Yihui, Teng Congcong, and the late Hu Bo.
In anticipation of FIFF’s official kickoff, The Hollywood Reporter had the opportunity to chat briefly with Song Wen about this year’s program, the post-pandemic recovery of the Chinese film industry, and the shifting preferences of Chinese filmgoers.
When asked about the trends observed in this year’s film program, Song Wen highlighted the increasing blurring of boundaries between fictional and non-fictional filmmaking. Many of the films in the lineup challenge these boundaries by bringing reality up close or presenting the filmmaker’s point of view in an authentic and unconventional way. Additionally, technological advancements have made filmmaking more accessible, resulting in a wave of talented individuals without professional training entering the industry. This decentralization has led to interesting experimentation and the exploration of genres like sci-fi and thrillers by young directors.
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As for FIRST’s significance in the Chinese film industry, Song asserts its irreplaceable role as a melting pot for new young filmmaking talent. Through the festival, emerging directors have the opportunity to connect, build relationships, exchange ideas, and receive training. The festival has been instrumental in pushing the boundaries of Chinese film aesthetics and supporting filmmakers with unique perspectives on genre filmmaking. Many successful directors, such as Wen Muye and Xu Zheng, have had their career breakthroughs at FIRST, thanks to the connections and opportunities the festival provides.
When questioned about the current state of the Chinese film industry, Song notes that recent times have seen positive developments. The summer release season has witnessed high box office numbers for several new films, indicating a recovery in the industry. However, Song also acknowledges the challenges that remain. The recovery process for filmmakers and film festivals in terms of international communication is still progressing slowly. Additionally, the competition posed by various forms of entertainment, such as smartphones, smart TVs, and tablets, has made it difficult to entice young audiences back to cinemas.
Addressing the decline in popularity of Hollywood films in China, Song suggests that one reason could be the episodic nature of many Hollywood franchises and the constant repetition of familiar stories and characters. Chinese audiences, particularly the younger generation, have a wide array of entertainment options available to them and seek fresh and exciting experiences. If a film fails to offer something innovative, they may choose to stay home and engage with other forms of entertainment.
In conclusion, Song provides advice for newcomers attending FIRST for the first time, emphasizing the importance of approaching the festival with an open mind towards the young filmmakers. Recognizing their vision and potential is crucial in helping them develop their talent and become the next great auteurs of the future. Song encourages an open-minded and progressive approach to film art, as the festival serves as a platform for new communication and exchange of ideas.
In summary, the FIRST International Film Festival in Xining, China, has established itself as a vital platform for discovering and promoting new cinematic talent. Over its 17-year history, the festival has played an instrumental role in nurturing the careers of emerging directors and pushing the boundaries of Chinese film aesthetics. As the Chinese film industry recovers from the impact of the pandemic, festivals like FIRST provide a vital space for connection and collaboration. However, the industry also faces challenges, including competition from various forms of entertainment and the need for continued international communication and engagement. Despite these obstacles, the passion and dedication of filmmakers and festival organizers, as exemplified by Song Wen and the FIRST International Film Festival, ensure a bright future for Chinese independent cinema.
