Slumped over in an orange, velvety sofa at a teahouse in
Beijing's Sanlitun area, Wang Xiaoshuai appears both relaxed and
spirited. The man, who is in his early 40s, is one of China's most
active directors.
His eyes convey a sense of stubbornness as he speaks with
sweeping gestures.
Despite the fact that his first three films-The Days, Frozen
and So Close to Paradise-were not considered commercially
appealing enough to screen in China, he has been steadfast in his
filmmaking, pushing forward with both legal and underground
projects.
A scene from Wang
Xiaoshuai's In Love We Trust, which will premiere at the Berlin
Film Festival on February 8. (file photo: China
Daily)
Wang has every reason to be light-hearted. He is preparing to
depart for the 58th Berlin International Film Festival, which runs
from February 7 to 17. His latest film, Zuo You, or In
Love We Trust, will premiere there on February 8.
"The crew will leave on February 7-the first day of the
traditional Chinese Spring Festival," Wang says. "Don't ask me
whether the film might win an award. I don't know, because I'm not
on the jury."
The director is a frequent visitor of international film
festivals, especially the three top film festivals-Berlin, Venice
and Cannes. Wang won a Silver Bear award for his Beijing Bicycle in
Berlin in 2001, and he claimed a "Prix du jury" award for his
Shanghai Dreams at Cannes in 2005, in addition to numerous
nominations.
"I'm just making films I like, and luckily, the juries of the
Berlin International Film Festival also like my film," he
explains.
"I'm in no rush. So far, I haven't seen any other films
scheduled to show at the festival, so I can't make any judgment.
All I know is the film I made."
Based on a true story, In Love We Trust tells the tale
of a divorced couple who discovers their daughter is about to die
from blood cancer. They must bear another child together and use
blood from the baby's umbilical cord to save their daughter.
The film features leading actress Yu Nan, star of last year's
Golden Bear award winner Tuya's Marriage, Zhang Jiayi, Liu Weiwei,
Tian Yuan and Cheng Taishen.
Wang Xiaoshuai believes
Western audiences will connect with his film despite the cultural
barriers. (photo: China Daily)
"In Chinese, 'zuo you', or 'left and right', means
decision-making and hesitation, love and betrayal," he explains.
"Basically, it is about human nature."
"The story is a cross-border tale, because it could happen
anywhere in the world."
"I believe viewers from China and any other country in the world
will understand what's behind it-human love and trust."
"After watching the film, they will ask 'what if this happens to
me?'"
"I have given my answer from my point of view in the film. Now,
it is your turn."
Although the plots and settings of his films have changed over
the years, some characteristics of his directing style remain
constant. Wang consistently renders realistic characters, such as
the man next door, the confused schoolchild or the regrettably
stubborn father figure.
Wang's father once worked in a Peking Opera Troupe in Guizhou
Province, and from the age of three, Wang would watch movies
adapted from Peking Operas, such as Shajiabang and
Haigang.
His encounters with such movies early in life led him to study
at the director department of the Beijing Film Academy after he
graduated from the Central Academy of Fine Arts.
Wang went on to develop a deeper interest in cinematography, and
he made his first underground independent film, The Days,
in 1993. In 1996, he completed Frozen and in 1998, he released
So Close to Paradise.
Since then, he hasn't stopped making films, despite facing many
obstacles.
Wang says film is another form of aesthetic expression, akin to
painting or sculpting, and he believes he has found his calling as
a filmmaker.
He is still striving for the optimum balance between his own
artistic vision and public recognition. Wang's later
movies-Beijing Bicycle in 2001, Drifter in 2003 and
Shanghai Dreams in 2005-demonstrate how he succeeded in
this goal.
"I really wanted to preserve the essence of China on film and
create a uniquely Chinese expression," Wang says. "The bicycle is
the most archetypical symbol of China. Hollywood has its fancy car
chases, but we don't have to do action sequences with a car; we can
do them with a bicycle."
He says he doesn't have audiences-at home nor overseas-in mind
when filming, "because it is difficult to cater for all
tastes".
"As a filmmaker, I want to tell good stories that are real and
thought-provoking."
"Viewers will find the emotional connection, as long as the
stories are good. The relationship between films and audiences is
like that of lovers: Beauty is in the eye of the beholder."
In the past three years, Wang has searched for a new form of
narration that is meaningful to him, "which can still preserve my
attitude and sensitivity towards people and the society. That is
what I have to do in In Love We Trust."
He says overseas audiences can understand the film despite
cultural barriers.
"Humans are basically vulnerable, particularly when they face
illness, death or social change," he says.
"To survive and to withstand social pressure from the outside,
people must train themselves to be strong. It doesn't matter where
you are from; you are still human, and become perplexed and
experience emotional upheavals."
After the film's competition in Berlin, the director plans to
bring the movie to Chinese cinemas. When talking about his
expectations for its box-office performance, Wang shrugs.
"You should hold different expectations for different kinds of
films," he says.
"For example, when watching Harry Potter, you should
expect the experience to be light-hearted and fun. When watching
Mission Impossible, you should expect to enjoy the special
effects and dazzling action provided by Tom Cruise. And when
watching my films, you should expect to feel intense emotion, but
you will come away with something to ponder."
(China Daily February 5, 2008)
