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Jia Zhangke (贾樟柯)
During the 63rd Venice Film Festival, Chinese mainland director Jia Zhangke walked away with 
this year's Gold Lion award for best movie with "Still Life." He's the second Chinese mainland director to win this major film award following Zhang Yimou, who won the award twice in 1992 and 1999.
At a press conference after the award ceremony, French actress Catherine Deneuve, who headed the jury that awarded the top prize, told reporters the beauty of the cinematography and the quality of the story moved the jury very much.
Jia Zhangke believes the jury at the Venice Film Festival voted for him because "Still Life" reflected the Chinese people's capacity for action and their ability to stay in control of their lives despite problems and difficulties, touching jury members deeply.
Documentary Style
In his explanation of his obsession with documentary style and non-professional performers, Jia Zhangke said:
"I have a special love for documentaries. I hope my movies will be a reflection of the natural state of things, which requires the actors and actresses to be in a natural state. Therefore, I prefer non-professional actors. For one thing, they are able to bring out the original state of life. They are also very close to nature."
Jia Zhangke's obsession with ordinary people it seems, may stem from his own personal life experiences.
Jia Zhangke was born into an ordinary family in Fenyang county (汾阳 ) in Shanxi province (山西 ). In 1993, Jia was admitted into the Beijing Film Academy. Three years later, he became an independent filmmaker. Moving from a little town to Beijing, Jia Zhangke felt like an outsider, a feeling shared by many who first come to Beijing. As a result, Jia Zhangke has a tendency to intertwine this feeling into many of his works.
The World is an example of this intertwining. It tells the story of a group of non-native youngsters who work at a miniature scenic spot called World Park. Here is Jia Zhangke’s summary of the film:
"I think in the process of urbanization, especially after the success of Beijing's bid for the 2008 Olympic Games, a number of outsiders, myself included, all rushed into the big cities. I came to Beijing from Fenyang, a little town in Shanxi province, in 1993. We are called the generation of drifters. This film tells the problems, stress, confusion, distress and hope of the youngsters, the generation of drifters in the process of accelerated economic changes."
Jia Zhanghke, who has been labeled a “Sixth Generation” director, gained wide international acclaim after his first full-length movie Xiao Wu, completed in 1997, received honors at the 48th Berlin Film Festival. The film is a reflection of the lives of youngsters in his hometown. Cahier du Cinema, an influential French film magazine, applauded Xiao Wu for breaking from the conventionality of traditional Chinese movies and heralded the movie as a symbol of the renaissance and energy of Chinese movies.
As a “Sixth Generation” director, Jia Zhangke is producing movies at a time when the Chinese movie industry is transitioning towards marketization. As such, directors must take into consideration box office numbers while still staying true to their artistic intentions. Jia Zhangke's unique style of making films and his obsession with grassroots themes therefore poses a problem for the young filmmaker. Jia Zhangke stubbornly insists his movies address the real issues facing modern Chinese society and connect with the disillusioned members of society.
His definition of the “Sixth Generation” of directors:
"The works of Sixth-Generation directors are characteristic of observing society and the people from a personal angle, using our personal values and based on our personal memories. I think China needs this to record its development. This personal observation is equally valuable to art."
China was overjoyed when Jia Zhangke brought back the Gold Lion, however, although Still Life has secured screening rights in 25 countries shortly after it was shown at the Toronto International film festival, it remains to be seen how domestic audiences will respond to the movie. Despite Jia Zhangke’s reputation as a talented filmmaker, insiders still worry Still Life’s documentary style and lack of a famous cast may hinder the popularity of the film domestically.
Despite concerns, Jia Zhangke appears very confident. He believes Chinese audiences will enjoy Still Life because it profiles real life and people and scenes familiar to them.
this year's Gold Lion award for best movie with "Still Life." He's the second Chinese mainland director to win this major film award following Zhang Yimou, who won the award twice in 1992 and 1999. At a press conference after the award ceremony, French actress Catherine Deneuve, who headed the jury that awarded the top prize, told reporters the beauty of the cinematography and the quality of the story moved the jury very much.
Jia Zhangke believes the jury at the Venice Film Festival voted for him because "Still Life" reflected the Chinese people's capacity for action and their ability to stay in control of their lives despite problems and difficulties, touching jury members deeply.
Documentary Style
In his explanation of his obsession with documentary style and non-professional performers, Jia Zhangke said:
"I have a special love for documentaries. I hope my movies will be a reflection of the natural state of things, which requires the actors and actresses to be in a natural state. Therefore, I prefer non-professional actors. For one thing, they are able to bring out the original state of life. They are also very close to nature."
Jia Zhangke's obsession with ordinary people it seems, may stem from his own personal life experiences.
Jia Zhangke was born into an ordinary family in Fenyang county (汾阳 ) in Shanxi province (山西 ). In 1993, Jia was admitted into the Beijing Film Academy. Three years later, he became an independent filmmaker. Moving from a little town to Beijing, Jia Zhangke felt like an outsider, a feeling shared by many who first come to Beijing. As a result, Jia Zhangke has a tendency to intertwine this feeling into many of his works.
The World is an example of this intertwining. It tells the story of a group of non-native youngsters who work at a miniature scenic spot called World Park. Here is Jia Zhangke’s summary of the film:
"I think in the process of urbanization, especially after the success of Beijing's bid for the 2008 Olympic Games, a number of outsiders, myself included, all rushed into the big cities. I came to Beijing from Fenyang, a little town in Shanxi province, in 1993. We are called the generation of drifters. This film tells the problems, stress, confusion, distress and hope of the youngsters, the generation of drifters in the process of accelerated economic changes."
Jia Zhanghke, who has been labeled a “Sixth Generation” director, gained wide international acclaim after his first full-length movie Xiao Wu, completed in 1997, received honors at the 48th Berlin Film Festival. The film is a reflection of the lives of youngsters in his hometown. Cahier du Cinema, an influential French film magazine, applauded Xiao Wu for breaking from the conventionality of traditional Chinese movies and heralded the movie as a symbol of the renaissance and energy of Chinese movies.
As a “Sixth Generation” director, Jia Zhangke is producing movies at a time when the Chinese movie industry is transitioning towards marketization. As such, directors must take into consideration box office numbers while still staying true to their artistic intentions. Jia Zhangke's unique style of making films and his obsession with grassroots themes therefore poses a problem for the young filmmaker. Jia Zhangke stubbornly insists his movies address the real issues facing modern Chinese society and connect with the disillusioned members of society.
His definition of the “Sixth Generation” of directors:
"The works of Sixth-Generation directors are characteristic of observing society and the people from a personal angle, using our personal values and based on our personal memories. I think China needs this to record its development. This personal observation is equally valuable to art."
China was overjoyed when Jia Zhangke brought back the Gold Lion, however, although Still Life has secured screening rights in 25 countries shortly after it was shown at the Toronto International film festival, it remains to be seen how domestic audiences will respond to the movie. Despite Jia Zhangke’s reputation as a talented filmmaker, insiders still worry Still Life’s documentary style and lack of a famous cast may hinder the popularity of the film domestically.
Despite concerns, Jia Zhangke appears very confident. He believes Chinese audiences will enjoy Still Life because it profiles real life and people and scenes familiar to them.
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