Xu Wangqiu was a little surprised, thinking that we in China were also having almost the same discussion, and in just two years, many people were at odds with each other, so he said: "After arguing for so many years, it is quite rare to be able to sit together and discuss." ”

Pierre Cardin laughs: "A lot of radical people have quit the salon, like Godard. Godard's first film was invested by Chabrol and he was a close comrade-in-arms with Truffaut. After Chabrol's return to commercial cinema, Godard had a strong opinion and felt that it was a surrender to the bourgeoisie. When Truffaut began making commercial films, Godard angrily withdrew from the salon and openly declared that Truffaut did not know how to make films, that he only made one real film, "Four Hundred Blows", and that after that he was just telling a story. After that, many of Godard's like-minded people withdrew from the salon. Originally, when the salon organized the event, there would be hundreds of people attending, and now you can see it, just a few people. Although the people who remained continued to quarrel, they were still tolerant of each other, not as extreme as Godard and them. ”

The feud between Truffaut and Godard is a well-known case in the history of cinema, and anyone who studies film is familiar with it. It's just that Xu Wangqiu didn't expect that they were all members of this salon and had a fierce quarrel in the salon.

Pierre-Cardin continues: "I heard them say that Godard came back from Geneva at the beginning of the year and approached Chabrol in the hope of reconciling with them. Chabrol said, I don't care, but you attacked Truffaut for a long time, he is really very sad, I'm afraid it will be difficult to reconcile with you. Truffaut was not in Paris at the time, and Godard did not see him, so he returned to Switzerland. I heard that he wrote a letter to Truffaut, expressing his desire for reconciliation and that he would invite Chabrol, Rivette and Truffaut to Geneva for a face-to-face talk, and he said that in any case, the friendship remained. Truffaut refused, and replied with a long letter in which he wrote, "If you're going to make an autobiography, I know the title, it's called "A Piece of is a Piece of." ”

Godard and Truffaut were originally close comrades-in-arms, good enough to wear a pair of pants, but Xu Wangqiu really felt sorry for them when they were in this situation. He thought of Zhang Yimou and them, and now everyone is very united, and they are full of energy to change the status quo of Chinese films, but what will happen in the future? Will they break up because of different concepts? Will they make trouble like Godard and them? Xu Wangqiu doesn't know, but he hopes not.

Xu Wangqiu did not participate in Polanski's argument and listened quietly. He knew that by revealing his views, he would not change anything, but would attract many enemies. Which direction French movies go, whether they are dead or alive, has nothing to do with him at all, and he is too lazy to worry about this idleness.

However, Xu Wangqiu didn't have long to be a melon-eating crowd, and he was still pulled into the battle group. Natasha Kinski saw Xu Wangqiu watching the two sides quarrel with great interest, and said curiously: "What is your opinion, do you think movies should be more artistic, or should they be more commercial?"

As soon as Natasha Kinski said this, everyone's eyes were focused on Xu Wangqiu, wanting to hear Xu Wangqiu's point of view.

Xu Wangqiu saw that everyone was staring at him, and he was very helpless, he really didn't want to get involved in the battle of the French film industry, but now that so many people are waiting for him to speak, he must not be able to hide, so he said: "Taizu once said that who is our enemy and who is our friend is the primary issue of the revolution. In fact, the same is true for the film industry, in order to make a good film, we must find out who our enemy is.

I don't think commercial films and art films should be enemies, who is the real enemy right now? Hollywood is a power culture, just like power politics in the United States. How to deal with Hollywood cultural hegemony and Hollywood cultural invasion is a common problem faced by filmmakers in many countries around the world. In order to deal with Hollywood, you advocate taking a completely different line from Hollywood, making auteur films, and taking the elite line, while we are a socialist country, and our country's attitude toward art is that literary and artistic works should serve the broadest masses of the people. The Chinese revolution relied on the line of the countryside encircling the cities, that is, the mass line. We believe that in order to fight Hollywood, we must take the mass line and make movies that the audience likes. Only by uniting the broadest masses of the people and making the broadest masses of the people like our movies can we defeat Hollywood.

The way of the movie is different from country to country. Just as the October Revolution in the Soviet Union succeeded in the cities, it was determined by the conditions of the Soviet Union itself. Our situation in China is different from that of the Soviet Union, so we cannot follow this path. In the early days of the Chinese Revolution, a group of people advocated learning from the Soviet Union and carrying out revolution in the cities, but they suffered heavy losses and finally succeeded in relying on the line of encircling the cities from the countryside. I think the same is true of movies, there are many college students and intellectuals in France, and it may be possible to succeed if you take the elite route and the author route. However, we are poor and backward in China, the people's education level is relatively low, and everyone does not like to watch high-end art films, and the elite line will definitely not work, so we can only take the mass line and use commercial films to compete with Hollywood for cultural control.

I don't think commercial films and art films are opposites, especially when Hollywood is under pressure, and the two sides should work together to preserve our culture. ”

Natasha Kinsky didn't understand what Xu Wangqiu was talking about, the mass line, the countryside surrounding the city, and so on. However, most of the other people can understand it, these people are basically Zuopai, and they have even read "Taizu Quotations", but they didn't expect Xu Wangqiu to link the debate between commercial films and art films with the revolutionary line, and it sounds quite reasonable.

"Making commercial films is to follow the mass line, and the countryside surrounds the city, which is quite interesting. Polanski came from a socialist country, and during the May storm, he shouted "more revolution for cinema" to Godard and others in Cannes. He knew the revolution better than others, and he couldn't help but clap his hands after listening to Xu Wangqiu's words.

"You're right, the biggest problem we face is the Hollywood invasion rather than arguing about who is more important, business or art. In recent years, the number of moviegoers of Hollywood movies has increased year by year, and if this continues, it will not be a few years before Hollywood films will have a market share of more than French films in France. Chabrol nodded repeatedly.

"Makes sense!" the others who supported commercial films nodded as well.

Supporters of the New Wave were quick to retort: "I don't agree with you, commercial films pursue commercial interests, only the calculation of interests, and no cultural and spiritual pursuits, which will eventually create a lot of cultural garbage." Just like in previous years, there was a wave of pornography in France, because that kind of film was particularly lucrative. If we allow commercial films to proliferate, what's the use of resisting Hollywood? ”

"Even if French cinema dies in the end, it is better to die in the hands of art films than in the hands of commercial films. In the hands of art films, at least there are art masterpieces left, and in the hands of commercial films, only cultural garbage is left. ”

Xu Wangqiu knew that it was difficult for him to convince these people, and in the late eighties, the French film was beaten by Hollywood, and it fell to 20%, and many people exclaimed that "French movies are finished". In this context, Luc Besson boldly learned from Hollywood and threw himself into genre films that were both ornamental and entertaining, and achieved great success. Under his leadership, a new generation of young French directors also began to join the ranks of genre films, making overseas blockbuster films such as "Taxi Express" and "Hurricane Rescue", which made French films revive to a certain extent.

However, the French critics did not read Luc Besson in the slightest, but attacked him for his depravity and scolded him for surrendering to Hollywood, and almost every one of his films was subjected to crazy abuse from the French critics.

Luc-Besson was still like this, let alone Xu Wangqiu, an outsider, but he nevertheless said: "Why do you have to set the two against each other? In the thirties, there was the Communist Party, which represented the interests of the workers and peasants, and the Kuomintang, which represented the interests of the big landlords and the big bourgeoisie; these two parties were enemies and were always at war. When the Dongying invaded China, the two parties quickly joined forces to form a unified line, and finally drove the invaders out of China. Now that French cinema is facing a similar situation, facing a Hollywood invasion, why not join hands and form a united front to deal with the Hollywood invasion together?"

Polanski couldn't help but say: "The French are famous for their infighting and outsiders, and it is simply impossible for them to join forces to defend against foreign enemies." ”

The French present glared angrily at Polanski when they heard this, and even said: "If you want to talk about infighting, who is better than you Poles!"

As Polanski said, Xu Wangqiu's words did not have any effect, and the pro-commercial and pro-art film people soon argued again, arguing and arguing.

Xu Wangqiu sighed slightly, in fact, Chinese films are not the same, Chinese films fell to the bottom in the last life, and the market share of domestic films is less than 20%, and most of these domestic films are the main theme films that rely on government chartering. Chinese films are on the verge of death, and in such a difficult situation, film experts and film critics still regard commercial films as enemies, and commercial films come out one by one, as if they have committed a heinous crime.

Xu Wangqiu suddenly felt a little tired and didn't want to stay any longer, so he told Pierre Cardin that he wanted to go back. He and Pierre Cardin then stood up to say goodbye to everyone present and extended another invitation to the crowd to attend the premiere of "Falcon".

The next morning, Xu Wangqiu and the Chinese film delegation left Paris, flew to Nice, and then took a small train to Cannes. On the train, an Asian man saw Xu Wangqiu and asked with a little excitement, "Are you Vietnamese?" Xu Wangqiu and they smiled and replied, no, we are Chinese. The Vietnamese man's face changed dramatically, and he turned his head to the side and ignored them again.

Before Xu Wangqiu and them, Chinese filmmakers had participated in the Cannes Film Festival three times. In 1956, the Chinese film "The White-Haired Girl" was screened in Cannes, in 1979, Xie Tieli's film "Early Spring February" was shortlisted for a kind of attention unit, and last year, "Hoe Rape", "Little Flower" and "Nezha in the Sea" were screened in Cannes.

This time, China organized a huge delegation and brought nine films to be screened. Cannes has organized a special screening for Chinese films, in which Xu Wangqiu's "Falcon" is the final finale.

When Xu Wangqiu and the others arrived in Cannes, the festival had already begun for several days. The streets are lined with large advertisements and fluttering buntings, and the streets are full of beautiful men and women in beautiful dresses and taking pictures.

A tall woman in the crowd wearing a miniskirt attracted Zhang Yimou's attention. Looking at those long white legs, he couldn't help but swallow. But at this moment, he found that Zhang Yimou was looking at himself and laughing directly, and he couldn't help blushing, and criticized: "Capitalism is really degenerate, what kind of system is this!"