Home » Apichatpong X Jia Zhangke: The time in my hometown is always in my heart_film festival

Apichatpong X Jia Zhangke: The time in my hometown is always in my heart_film festival

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“The time I spent in Khon Kaen for forty to fifty years has always been in my heart. For so many years, I have always remembered my teenage years. Back then, my parents and I lived in the hospital compound, because my parents were both doctors, so my family In the hospital, the hospital is my playground, so I have a strong sense of attachment to the hospital, not only the space, but also the smell of the hospital, such as the smell of medicine, the smell of disinfectant, etc. “When the famous Thai director Apichatbang and the famous Chinese director Jia Zhangke took part in the Master Class of the 24th Shanghai International Film Festival Film School, they described their memories in this way.

Hometown is an inseparable connection in Apichatpong’s works. From “Noon Development” to “Uncle Bumi Who Can Recall Past Life” and “Dream Cemetery”, the strong connection with land, culture, and politics is An iconic element in Apichatpong’s works.

Apichatpong said frankly that his feelings for his hometown are “love and hate”, and his hometown has always been a source of inspiration for Apichatpong. “Love is because I am very obsessed with my memories of my hometown. I had a very free childhood there. It taught me a lot of knowledge and gave us many opportunities to dream. However, it was this hometown that destroyed me I have had some beautiful dreams, for example, sometimes I realize that my town actually has various sufferings, and this small town is not as beautiful as I thought.”

Various historical reasons have created Apichatpong’s complex emotions for his hometown, and these complex emotions have formed his unique appearance after being presented in the movie.

Apichatpong’s works hardly use realist methods to display intuitively, but use expressionist methods to conceal certain hints or connections. In “The Cemetery of Dreams”, he designed a device that can help the characters in the movie to sleep peacefully. In the movie, a “hole”-like communication is established between dreams and reality. He said, “I think if you want to interpret it, you can take a different perspective. For us Thais, one possible perspective is to interpret it from a political perspective or a symbolic perspective. Because there are many in this movie. At the same time, you can also interpret it as a pure film. I made this film to pay tribute to my hometown.”

Through the film, Apichatbang wants to convey a symbiotic relationship between dreams and reality, which is similar to Freud’s theory of contrast between dreams and reality. “I want to express the symbiotic relationship between film and dreams through my films. Making a film by myself is like filming a dream, or a dream I should do but not dreaming. I myself have done research on the science of dreams. , I found that the mechanism of physiological dreams is very similar to the mechanism of our watching movies. We all need something fictitious to help us face reality. So I hope that through my movie, I can express that sometimes there is a difference between the two worlds. Integral, sometimes hope and darkness coexist, and this darkness may have some unknowable, invisible, intangible real influences that control us, such as our past history…”

Dreams and water are like the roots of dense forest trees in the movie. They are two elements rooted in space, crisscrossing and entangled with each other, forming the unique image language system of Apichatpong movies. “I love water very much. Since the Middle Ages, water has always been regarded as human expression, or our human body is made of water, and water constitutes our molecules. It is precisely because of the existence of water that our human body can function normally. When it comes to the physical world, water is actually like a country’s arteriovenous blood system, connecting a country and various places together, and when it comes to the Mekong River not only connecting all parts of Thailand, in fact, it is connected to China in the north and Cambodia in the Nantong. The three countries are connected to the whole as a whole, so I like the imagery of water and rivers. On the other hand, water has also played a role of fragmentation, dividing the countries of Thailand and Laos, and there will be competitions between different places for water. The allocation of resources has caused some controversy. I am still paying attention to the progress in this area and continue to study.” It can be seen that this video language system carries a lot of realistic, historical, and geopolitical expressions, which is both huge and profound. .

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Apichatpong has always been amazed by the audience with his rich video language and unique means of expression. He is also engaged in installation art and video experiments while creating films. The multi-screen installation “Original Project” participated in the 2012 Kassel Documenta. “Dilba” and “Fireworks (Archives)” have participated in solo exhibitions in Oslo, London, Mexico City and Kyoto respectively. His solo exhibition of “Monument” was exhibited at ShanghART Gallery in Shanghai in 2017, and some of his works caused a strong sensation. For example, “Palace” and “Fireworks” are powerful visual presentation methods to explore the diverse and complex relationships between objects and spirits, history and modernity. It exists in the illogical and discriminatory video space, integrating the feelings of the audio-visual instructor into the installation works, mobilizing a brand-new sensory experience. From the perspective of Apichatpong, whether it is a film or a contemporary art work, they all belong to the same creative world, and they are also Apichatpong’s ways of expressing themselves. Film needs teamwork, and contemporary art needs to be done by one person.

“What I must point out is that when creating contemporary art works, my creative process is actually very similar to the process of making a movie. I will also go to the entity to check and interview local people. I will also study the current situation. Especially including the political trends in Thailand. When I created my contemporary art, the team I used was actually the same group of people as the crew I made for the movie. We went to a place, looked around, and recorded the local people. , The memories of the locals, discuss with each other, and then we can produce works of art.”

To create these contemporary artworks, he must meet his social needs. He wants to find an answer for Thailand through artistic creation, and all the ways of artistic expression, in his view, are just the vehicles leading to this ultimate answer.

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Starting with the first film “Xiao Wu”, most of Jia Zhangke’s films were shot in his hometown, and were also conceived around his hometown. “China has a large land area, and each region has different personalities. Therefore, when dealing with one thing or feeling in the same way, in a certain emotional situation, the ways of speaking and thinking are different from each region. I am from Fenyang, Shanxi. I know my own emotional processing and expression best. I must come from Fenyang, so I am willing to set the characters as Shanxi or Fenyang.”

Jia Zhangke grew up in an era of great changes in Chinese history, and has undergone 20 years of tremendous historical changes. From big cities to small cities, the aftermath of changes has been continuously affecting the Chinese and Jia Zhangke’s worldview. “In the sense that most of the 1.4 billion people live in rural areas and small towns, it has a certain universality. My hometown has not only emotional uniqueness, but also survival and development status, which can represent most areas in China. Universality.”

His works often reflect the true state and experience of the characters in an era. From the early “Platform” and “The World” to the later “Legend of the Sea” and “Old People of Mountains and Rivers”, the era and history left deep in Jia Zhangke’s films. Imprint

Jia Zhangke grew up in a small county in Fenyang in northwestern China, with a population of more than 400,000, which is an intermediate link between the city and the countryside. So art is not the first choice for people here.

“Before the first study of fine arts, we had no brains or concepts about the composition of the world. When you draw a sketch, you start from observation. You have to observe the structure of light and shadow, how the color of the body is produced, and how the environment affects it. At this time, you can judge the nature of an object, its shape and color, its structural nature, and the change in observation methods. When you see the world with light and shadow, there are highlights, it is flattering for us Chinese. The visual experience has changed a lot.” Jia Zhangke said.

Speaking of contemporary art creation, Jia Zhangke admitted that he was learning from Apichatpong. “I learned this from the director of Apichatpong, because I found that he found a good way, and contemporary art exists at the same time. Because the film expression cycle is very long, there is an inspiration to complete (finished) in one or two years, but daily There are always many things I want to express in life. I think many of my colleagues, including Apichatpong, have hobbies in this area. In the past, I have accumulated more photography works. In the past two years, I have also tried to create works like installations. My latest installation art is being exhibited in Amsterdam. I think it’s a good addition to the film. Two years have passed since writing the script, finding actors, finding money, and finishing the filming of a film, but the reality is so rich and varied. You always have something improvised to express, so you found the way of contemporary art.”

In 2017, Jia Zhangke founded the “Jia Zhangke Art Center” in Fenyang and began to experiment with image creation. This is another way of expression that Jia Zhangke opened up after the film.

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Finally, share a QA from the scene, which contains the two directors’ ardent hopes for young filmmakers:

host:Please talk about your experience in supporting young filmmakers, because both of them are very successful here. Director Apichatpong founded the Bangkok Experimental Film Festival, established Kick the Machine company, and supported local young filmmakers. What advice does the director have for young filmmakers? Because there are also some young people here who have dreams and wishes for movies in the future.

For Director Jia, can you share the original intention of establishing the Shanxi Film Academy to support China’s film education, and the outlook for the future?

Apichatpong:In my opinion, what young filmmakers need to do most is to be able to enjoy life and enjoy the present. You have to start by observing your body and the relationship between your body and the world around you, because the body itself is an art, you only have Only after you understand your body can you explore it, and then express this exploration into a movie. In fact, it is very difficult to understand yourself.

Now many young and future filmmakers have watched a lot of movies, and then they start to feel hesitant. After watching this movie, I think I want this style. After watching that movie, I feel that I might as well make that style. In the end, they are uncertain. It’s a difficult choice, so I suggest that you watch more, listen more, and do meditation more. These will help. At the same time, I also recommend that you don’t hold the movie too high, regard it as a religion, respect it too much, obey it too much, and equate your identity with the movie. The building will collapse and you will feel that you are a loser, which is not good.

host:I just asked him about the Bangkok Experimental Film Festival, whether his participation in the creation is still in progress. He said that some, although the scale is relatively small, but the new curator and the organizer continue to work hard. It is not easy but still Stick to it.

Director Jia will talk about your experience and experience in this area and the current Shanxi Film Academy.

Jia Zhangke:The Pingyao Film Festival is not easy either. In terms of our cooperation with young directors, I think I enjoy it very much. Because we have venture capital, we have development plans, we have new movie screenings, you will see completely different movie imaginations and a brand new movie world, which is very important to those of us who have been engaged in film work for nearly 30 years. It’s inspiring, so I’m also very grateful to the Pingyao Film Festival, including the Shanghai Film Festival. Because of the film festival we saw the world of young people. Some of it is something we can understand, but some of it is not what we can imagine and observe. , This is the reason why movies are endless.

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