Cannes Day 6： Hu Ge talks about the role of desperate, by the director than Leslie Cheung

1905 movie network feature The sixth day of Cannes is still a busy day for the Chinese-language media. At 10:30 am French time on May 19, the Chinese-language film that premiered in Cannes yesterday held a press conference at the Film Palace. When talking about his role, Hu Ge said emotionally that the role needs a desperate point. Regarding Hu Ge’s decision to play a gangster, director Diao Yinan even used Zhang Guorong as an analogy, saying that he is an idol, but it does not hinder the cooperation with the author and director.

In the main competition, two more films premiered in turn. The French film "Portrait of a Burning Woman" andTerrence MalickThe new film premiered successively in the Lumiere Hall of the Film Palace.

Hu Ge lamented the shooting experience: firmly established that this road must go on

"The Wild Goose Lake," which finished its premiere, scored a 2.8 on Screen, one of the Cannes film festival’s editions. Mr. Diao also appeared alongside his stars, Hu Ge, Gui Lunmei, Liao Fan and Wan Qian, and two producers, Li Li and Shen Qian, at this morning’s press conference, which has also become a gathering of Chinese media at Cannes. Speaking about his casting choices, Mr. Diao said he was not acting from a realistic perspective, but from a temperament perspective, so by casting Hu Ge as a gangster, he entered the role.

For the choice of Hu Ge, Diao Yinan even used the analogy of Leslie Cheung, Alan Delong, and others, indicating that he is both an idol and a serious author of a movie.

Hu Ge, Diao Yinan and Gui Lunmei

Hu Ge also expressed his gratitude for the opportunity to star in a film. At the press conference, he once again emphasized that this was his first film, and because of his cooperation with the director Diao Yinan, he also firmly determined that this path must be followed. Starring in a film for the first time, he admitted that he had always been anxious and uneasy in the crew. In the end, he realized that this anxiety had become the link between himself and the character.

Gui Lunmei, who has played a lot of opposite scenes with Hu Ge, also shared her feelings. She mentioned that she also didn’t know how to deal with the character, so she also felt uneasy and uncertain to experience the character’s complex mood twists.

"Burning Woman" burst into loud applause after the screening, and Malik’s monotonous and straightforward theme

In the two main competition films that premiered today, "Portrait of a Burning Woman" is set in the 18th century and tells the story of two women on an island. Although the story is simple, the director’s presentation skills are varied, and multiple shots are delivered to a shocking effect. But the film’s slightly slow pace, coupled with the setting of the era, also made many Chinese journalists feel monotonous.

"Portrait of a Burning Woman"Poster

Terrence Malik went on to make "The Hidden Life," a World War II-themed film, but the two are only similar in theme and completely different in story and production. The film does not focus directly on the war, but instead tells the life and death of a civilian couple. The hero, the Austrian soldier Franz Jagstedt, is sentenced to death for refusing to fight for Germany because of his opposition to the Nazis, and the wife is left to raise her children alone in the countryside.

The pastoral scenery in the film is picturesque, as if reproducing the scenes in Malik’s classic works, and the unique visual images created by the shooting methods of large and wide-angle, looking up, and close-up characters are also his consistent image style in recent years.

"The Hidden Life" recreates the rural work landscape

In contrast to other films that have been criticized for having only exquisite images and broken and messy narratives, this time the story is clearer and more plot-oriented. The main story is narrated through cross-cutting, focusing on the humiliation and humiliation suffered by the husband and wife. On the one hand, Franz was tortured by Nazi officers in prison, and on the other hand, his wife and children were rejected by the villagers in the village, but they still lived tenaciously.

The narration of the husband and wife’s letters and the scenes of their lives together create this undercurrent of tragedy. Although the appeal is not as grand, it is permeated with a sincere humanitarian spirit, and it also conveys love and faith, kindness and justice. However, there is still the old problem of Malik’s creation in recent years: monotonous emotions are constantly repeated, and the main theme is too straightforward.