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At the same time, the censorship situation in China has also advanced since January of this year. Jia was part of an organization of filmmakers lobbying the China Film Bureau to speed up the approval of independent and auteur films when they were almost absolutely at shutting down the pandemic, while regulators suspended more nationalistic local tariffs.
However, since Mao Yu was appointed head of China’s Film Bureau, the wheel has begun to turn back for both local and imported titles. Jia’s own company was a co-producer of Memoria, the Grand Jury Prize-winning film by Thai filmmaker Apichatpong Weerasethakul, but had to wait nearly two years to get permission to release the film in China. After all, the film was released this spring without any changes and grossed around US$400,000 (RMB 2. 5 million), making China one of the largest box office territories. for the film.
Jia will also return to directing this year. On November 10, she will begin filming the new sequences for We Shall Be All, which follows a Chinese woman through the first two decades of the 21st century. Starring Jia’s wife and regular collaborator Zhao Tao, the film is produced by Ichiyama and Liang through Jia’s Xstream Pictures. This will be his first fiction feature film in five years since Ash Is Purest White (2018), as will his last film, Swimming Out Till The Sea Turns Blue (2020), a documentary about a literary festival held in his hometown of Fenyang, Shanxi.
It may not be drawn on the release date, but we can probably expect to see the film at a big festival next year. ” Post-production will be a complex process because we span a generation from 2001 to delivery day,” says Jia, who has tackled the Chinese landscape in several of his previous films. “There have been a lot of adjustments in China in the first two decades of this century and we want to figure out how to deliver them visually. “
The Pingyao International Film Festival took place from October 18 to October 18.
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