Chinese director Ning Hao has recently premiered his latest film, The Movie Emperor, at the Busan Film Festival in South Korea. The satirical comedy stars Andy Lau and takes a critical look at China’s film industry in the TikTok era. In this article, we will delve into the background of the film, Ning Hao’s motivations, and his perspective on the challenges facing the Chinese film industry.
Director Ning Hao reveals that he has always wanted to partner with Andy Lau, who had previously invested in one of his films. However, finding the right project proved challenging due to Lau’s urban image and Ning’s preference for suburban or rural protagonists. Eventually, Ning came up with the idea of casting Lau as a Hong Kong movie star forced to step out of his comfort zone. This decision not only added depth to the film but also highlighted the clash between urban and rural lifestyles.
Ning Hao acknowledges the impact of short video apps like Douyin (China’s version of TikTok) on the film industry. He recognizes that these apps offer quick entertainment and have the potential to challenge the traditional function of films. With the rapid spread of knowledge and information through short videos, films face the challenge of providing content of higher quality and complexity. Ning believes that if he can achieve this, it will be a significant accomplishment.
One of the significant changes brought by the rise of short video apps is the audience’s freedom of speech. Audiences now have the power to comment and critique films, which can both help and destroy filmmakers. Ning Hao’s film, The Movie Emperor, explores this topic by satirizing the audience’s right to comment and speak up. It reflects the shift from the audience being the object to the audience becoming the subject in the age of social media.
The film includes biting satire aimed at producers and investors in the Chinese film industry. Ning Hao himself stars in the movie and mocks himself more than anyone else, making him the primary target of offense. While some may argue that the industry has a tendency to take offense easily, Ning insists that his intention is not to offend others but to shed light on the industry’s flaws and challenges.
Ning Hao is hopeful about the recovery of the Chinese film industry. He mentions the successful box office in China during the summer holiday period, indicating that audiences were returning to cinemas in large numbers. The release of The Movie Emperor in North America and other international markets further demonstrates the industry’s optimism in reaching a global audience. With the pandemic hopefully behind us, there is a growing possibility for more Chinese films to receive international distribution.
Ning Hao’s production company, Dirty Monkey, aims to support new filmmakers beyond just producing their first films. The company continues to see them through their second and third features to ensure they have a lasting impact in the industry. Currently working with around ten different directors, Dirty Monkey believes in fostering talent and preventing young filmmakers from disappearing after their initial success.
Ning Hao emphasizes the importance of collaboration between Chinese and international film industries. He believes that film is not just a cultural product but also a tool for mutual understanding and communication. Therefore, he is interested in collaborating with overseas partners and facilitating the exchange of good Chinese films and directors. Ning encourages more communication and collaboration between Chinese and international companies, directors, and actors to foster a stronger global film community.
Ning Hao’s The Movie Emperor tackles the challenges faced by the Chinese film industry in the TikTok era through a satirical lens. With a blend of biting satire, social commentary, and compelling storytelling, Ning Hao aims to offer audiences content of higher quality and complexity. By collaborating with international partners and supporting new filmmakers, Dirty Monkey, Ning Hao’s production company, plays a vital role in ensuring the industry’s growth and success. As Chinese films continue to reach global audiences, there is hope for greater international distribution and recognition.