Ju Dou's screening at Cannes received quite good reviews.

From the beginning to the end, the film uses a lot of freehand, and the large red and blue-gray are contrasted, like Chinese ink paintings, with a strong oriental charm.

In the color of this splendid dyeing workshop, there is a heavy content, and in the film, Zhang Yimou intends to attack the criminal feudal era and the ideology of etiquette rooted in the heart.

In particular, Judou's last fire burned out the dyeing workshop, burned away sins, and burned out life, just to tell the audience: even if the dawn has not yet arrived, the dawn has come, and everything will end.

The film has a Greco-tragic power. In the span of ten years, the intense emotional conflict between three generations and four people is revealed. Their respective painful inner worlds, their entangled loves, hatreds, and social grievances, and the thrilling confrontation between their two armies are rare in Chinese films. The whole film is unusually compact from beginning to end, with suspense repeatedly, and its internal tension and dramatic conflict are like dense raindrops falling on every minute of every scene, without dragging the mud and water.

The theme that Ju Dou wants to express is the respite of women under the repression of the Chinese feudal system at that time, which is more profound and thought-provoking in the anti-feudal consciousness, and the poison of the inhumane feudal society not only exists in the external social shell of everyone, but also deeply rooted in the hearts of everyone in that generation.

Voyeurism full of sexual connotations is magnified to the point of tension, and in the basic human nature of the Chinese, the voyeuristic desire brought about by repression has always been strong, the voyeurism of others' privacy, the voyeurism of sex. Suppressed China has not changed, the repressive Chinese rituals have not changed, and the repressed Chinese have not changed. “

Zhang Yimou explained the ideas he wanted to express in the film to Bernardo Bertolucci, the chairman of the jury of this year's film festival, at a reception after watching the film.

As a well-known director of art films, although he doesn't know much about Chinese history, he only watched the artistic ideas in the movie Bertolucci got to that point after watching it once.

"Yes, I understand what Zhang is trying to express.Ju Dou and Yang are undoubtedly able-bodied people, but they have already been cut off by the cannibalistic rites, and they can only hide under the bridge or in the cellar to release their love and resentment for each other. Bertolucci liked some of the things that Ju Dou showed very much, he pondered for a while and continued: "Especially in that one, I don't know how to express it accurately, it is the place where the group of people are naming their children, and the scene in that place, which makes me feel a smell of rules inexplicably."

"It's called Order Hall, and it's a very important symbolic place in the movie."

In the short time of talking with Bertolucci, Zhang Yimou seems to have met his own Zhongzi period, and every point that Bertolucci is interested in is what Zhang Yimou wants to express in his heart and wants to shoot for the audience.

Bertolucci's every word seemed to scratch Zhang Yimou's G-spot.

Just like the Hall of Order, this place that appears in the movie was filmed in Nanping Village, Yixian County, located in Huizhou.

This order hall is divided into upper, middle and lower halls, and the lower hall is a place for playing drum music, and can also be used for stage performances. The middle hall is the auditorium, which can hold the sacrificial ceremony, the upper hall is the enjoyment hall, and the ancestral tablet of the clan is placed upstairs.

The ancestral hall is tall and majestic, and people will have a sense of awe in the meantime. There are also strict rules for participating in the sacrifice, including the clothes and crowns that the worshippers should wear in accordance with their status, the ritual of the sacrifices, and so on.

By participating in such grand ceremonies and many ceremonies, the people of the clan can increase their pride in their clan. Some families also stipulate that boys who are a little older must participate in some rituals and sacrificial activities in the clan, so that they can master the norms of life from an early age, understand various etiquette, and form a specific mode of thinking.

"In the past in China, the order hall or ancestral hall was often a symbol of clan rules, a temple of family spiritual education.

And this represents the order hall of rules is the representative of the greatest imprisonment of human nature under feudal etiquette.

What I want to tell the audience is that when this kind of rule becomes a norm, and the measure is in the hands of others, the rule has no emotion at all".

For his film to be favored by the master Bertolucci, Zhang Yimou's happiness is naturally self-evident.

In particular, Bertolucci is also the chairman of the jury of this year's film, which is the existence that can personally decide the ownership of the Palme d'Or.

"Zhang, your control of the film is one step closer than when Red Sorghum was used, and you are more like a director than a photographer in Judou." Bertolucci praised.

Before Ju Dou, I always made movies from the perspective of a photographer, and I didn't pay much attention to mobilizing actors, not paying much attention to digging into the hearts of the characters, but more about the overall style, shape and visual impact of the film.

Although "Ju Dou" still has a sense of form such as "dyeing workshop", it is the first time that I have put my ass in the director's position. Zhang Yimou was very excited that Bertolucci could accurately discover the changes in his film shooting.

This shows that Bertolucci is not just a commercial tout of himself, but has really paid attention to himself, and has paid attention to his progress from the immaturity of red sorghum to the current progress of Judou.

"That's right, Zhang, you are more like a director, your changes are obvious, not only for the control of the movie is more in place, but also for the training of actors." Bertolucci laughed and extended the conversation from the film to the actors.

"Yes, Mr. Chairman is right, the reason why the wild spirit can be expressed in "Red Sorghum" is largely due to the performance of the actor Jiang Wen.

Jiang Wen is a very capable actor, so the character he plays is very glorious. On the other hand, if you look at Gong Li at that time, you will find that my skills at that time were still limited to providing actors with a good shape and image.

Only two years later, Gong Li's performance in "Ju Dou" has made a qualitative leap.

This fully exposes that I didn't know how to direct as a director during the "Red Sorghum" period, and I couldn't do anything about newcomers like Gong Li, but Jiang Wen, who can act, helped me a lot. ”

talked about it, and Zhang Yimou, who felt that he had met a confidant, did not expose his embarrassment at all.

He feels that the biggest gain of his visit to Cannes this time is not to let people all over the world see his films, not to promote Judou in front of so many film companies, he feels that the biggest gain is to meet Bertolucci here who really understands him.

It's just that what Zhang Yimou definitely didn't expect was that Bertolucci was more interested in how he grasped the obscure or direct sexual shots in the film than the kind of indictment of feudal etiquette that he wanted to express in his film.

"Mr. Zhang, how do you control the scale of those lenses that express thoughts through sex?"

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