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The control of cinema leader Wanda Film (002739) may change.

On December 6, Wanda Film announced that the company’s indirect controlling shareholder, Beijing Wanda Cultural Industry Group Co., Ltd., and its wholly-owned subsidiary, Beijing Hengrun Enterprise Management Development Co., Ltd., and the company’s actual controller, Wang Jianlin, intend to transfer their combined 51% equity in Beijing Wanda Investment Co., Ltd. (hereinafter referred to as "Wanda Investment") to Shanghai Ruyi Investment Management Co., Ltd. (hereinafter referred to as "Shanghai Ruyi Investment").

Wanda Investment is the controlling shareholder of Wanda Film. Wanda Film said that if the above matters are finally implemented, it will lead to a change of control of the company.

In view of the uncertainties in the above matters, Wanda Film will suspend trading from the opening of the market on December 6, 2023 (Wednesday), and it is expected that the suspension time will not exceed 2 trading days. On the morning of December 6, the Shenzhen Stock Exchange has announced that Wanda Film plans to plan a change of control, and the stock will be temporarily suspended from the opening of the market on December 6. Trading will resume after the company discloses relevant announcements through designated media.

Shares have been transferred several times this year

Since the beginning of this year, Wanda Film has undergone several equity changes. According to the 2022 annual report, Wanda Investment directly holds 38.99% of Wanda Film’s shares.

In March, Wanda Investment’s concerted action, Wanda Culture Group, reduced its holdings of Wanda Film 43.5653 million shares through the block trade system, accounting for 1.999% of the company’s total share capital. In April, Wanda Investment announced a reduction plan to reduce its holdings of Wanda Film shares by no more than 65.38 million shares, accounting for 3% of the company’s total share capital.

Entering the second half of the year, Wanda Film’s equity transfer accelerated.

On July 10, Wanda Investment signed a share transfer agreement with Lu Lili, agreeing that Wanda Investment will transfer its holding of Wanda Film 180 million shares to Lu Lili, accounting for 8.26% of the company’s total share capital.

On July 17, Wanda Investment and its acting party, Xinxian Rongzhi Industrial Management Consulting Center (Limited Partnership) (hereinafter referred to as "Xinxian Rongzhi"), signed the "Share Transfer Agreement", and Wanda Investment transferred its holding of Wanda Film 177 million shares to Xinxian Rongzhi, accounting for 8.14% of the company’s total share capital.

After the transfer of the above agreement is completed, Wanda Investment holds 436 million shares of Wanda Film, with a shareholding ratio of 20%. Wanda Investment and its concerted actors together hold 673 million shares of Wanda Film, accounting for 30.9% of the company’s total share capital.

Before the proposed transfer of 51% of Wanda’s investment, on July 20, 2023, Wanda Culture Group had signed an Equity Transfer Agreement with Shanghai Ruyi Film and Television Production Co., Ltd. (hereinafter referred to as "Shanghai Ruyi Film and Television").

Wanda Cultural Group intends to transfer its 49% stake in Wanda Investment to Shanghai Ruyi Film and Television. After the transfer is completed, Wanda Cultural Group indirectly holds 222 million shares of Wanda Film through Wanda Investment, with a shareholding ratio of 10.2%. Wanda Cultural Group and its concerted actors directly and indirectly hold 460 million shares of Wanda Film, with a shareholding ratio of 21.1%.

According to Qichacha, as of December 6, Shanghai Ruyi Film and Television held a 49% stake in Wanda Investment, Beijing Hengrun Enterprise Management Development Co., Ltd. held 29.8%, Wanda Culture Group held 20%, and Wang Jianlin personally held 1.2%.

Wanda Film Industry Leader

Wanda Film has long been a leader in domestic theaters.

Lighthouse data show that since 2023, the national film box office has reached 51.45 billion yuan, of which Wanda cinema box office 8.94 billion yuan, far more than the second 4.481 billion yuan. Wanda cinema attendance 190 million, with an average of 15 people per game, all in a leading position in the industry.

Wanda Film also ranks first in the country all year round. Wanda Film’s cinemas and screens rank first in the industry. Since 2023, 9 of the top 30 cinemas in the country have been Wanda Studios.

According to the third quarter report of 2023, from January to September this year, Wanda Film’s domestic theaters achieved a box office of 6.22 billion yuan (excluding service fees), an increase of 67.6% year-on-year and 5.2% over the same period in 2019; the number of people watching movies 150 million, an increase of 68.7% year-on-year, an increase of 3.7% over the same period in 2019.

As of September 30, 2023, Wanda Film had 877 open theaters and 7,338 screens in China, including 709 directly-operated theaters, 6,159 screens, 168 light-asset theaters, and 1,179 screens. The company’s cumulative market share in the first three quarters was 16.5%.

"Post-80s" Colliming takes over

Shanghai Ruyi Investment, which plans to take over 51% of Wanda’s investment, and Shanghai Ruyi Film and Television, which previously took over 49% of Wanda’s investment, are both controlled by Ke Liming.

Shanghai Ruyi Film and Television is a subsidiary of China Ruyi Holdings Co., Ltd. (hereinafter referred to as "China Ruyi" 00136.HK), a Hong Kong-listed company. China Ruyi owns 100% of Shanghai Ruyi Film and Television. Tencent is one of the major shareholders of China Ruyi.

On December 6, Chinese Confucianism rose more than 9% in intraday trading, and its market value rose to HK $22 billion.

"Confucianism" can be called a dark horse in the film industry in recent years. According to Lighthouse data, Shanghai Confucianism Film and Television has produced 43 works in recent years, with a total box office of 17.677 billion yuan and a total box office of 7.434 billion yuan. These include well-known works such as "Hello, Li Huanying", "Vanished Her", "Walking Alone on the Moon" and "Send You a Little Red Flower".

Ke Liming’s other main body, Beijing Ruyi Xinxin Film Investment Co., Ltd., has also produced 5 works, with a total box office of 1.438 billion yuan, including "To the Youth We Will Eventually Die", "Small Times 4", "Old Boy’s Raptor Crossing the River" and other well-known works.

According to the financial report, Colliming is a post-80s generation, now 39 years old.He worked as a senior analyst at a hedge fund management company. He graduated from Griffith University in Australia with a bachelor’s degree in risk management in 2005 and a master’s degree in money and banking in 2006.

According to the delisted Shanghai Fukong previously disclosed, Ke Liming himself led some project personnel to join Huashi Film and Television Investment (Beijing) Co., Ltd. in March 2011. Ke Liming served as the general manager of Huashi Film and Television and filmed film and television works within the main body of Huashi Film and Television.

It was during this period that Ke Liming and his team participated in the planning and production of the movie "To Youth", the TV series "The Woman of the Swordsman Family", and the movie "Tiny Times 1 and 2" and many other works. In December 2012, Ke Liming left China Vision Film and returned to Ruyi Film as the general manager. Since then, Ruyi Film’s business has developed rapidly. It began to plan the TV series "No War in Peking" and the movie "Old Boy’s Raptor Crossing the River" that year, and achieved good responses.

1905 movie network news On December 3, the Film Bureau of the State Administration of Press, Publication, Radio, Film and Television announced a new issue of the project approval notice. Among them, two popular reality shows, "Run, Brothers" and "Where Are You Going, Dad 2", have been officially approved, but the former belongs to feature films, while the latter is classified as documentaries. In addition, "Eat, Eat, Love" filed by LeTV Pictures, which is written by the famous Taiwanese host Cai Kangyong, also appeared in the public notice.

The reality TV screen fever is intensifying, and the plot of the movie version of "Running Man" is exposed

A few days ago, it was reported that the movie version of the popular reality show "Running Brothers" has been launched in Hainan, and it is planned to be released on the first day of the new year. The starring role is still the original cast of Chen He and Angelababy. In this project announcement, the plot of the movie version of "Running Brothers" was also exposed: the legendary Nian beast "Nian" woke up and kidnapped the "Ben Mei’er" of the running group in order to make dumpling stuffing for the illusion of human form. The next day, the other six members embarked on a journey to rescue "Ben Mei’er". Finally, in the lair of "Nian", they discovered the shocking truth and still worked together to defeat "Nian". It seems that it is very in line with the festive atmosphere of the Spring Festival.

At the same time, another reality TV show, "Where Are We Going Dad 2", was also officially approved. Like the one released during the Spring Festival in 2014, the film was still a graft of TV shows, so it was divided into the documentary camp. The stars of "Where Are We Going Dad 2" are the five groups of cute baby star dads in the second season of the show. Sister Grace, Huang Duoduo, etc. took over the positions of Kimi, Shi and others, and will be filmed in Fiji to complete tasks such as "skydiving" and "desert island survival".

LeTV shoots Cai Kangyong’s big screen debut, and Kimbo Landau pushes the co-production again

It has been rumored on the Internet that the famous variety show "Kangxi is Coming" is about to stop broadcasting, which includes the news that the host Cai Kangyong will move to the big screen. In this public announcement, "Eat and Eat Love" written by Cai Kangyong has officially appeared, and the filing unit shows LeTV Pictures. Interestingly, the heroine of the film is a "bright and beautiful female star" named "Shangguan Didi", which makes people think of Cai Kangyong’s old partner Xiao S Xu Xidi. If Xiao S really will play the heroine in Cai Kangyong’s film debut, then the film’s attention must not be low.

In the co-production section, "Spider’s Nest 3D," written by Kimbo Landau, a former director who once directed "Spider’s Nest 3D," a disaster movie with a thrilling plot and crude visual effects that has a very modest reputation after its release in China. Judging from the synopsis of "Spider’s Nest 3D," this will be another "disaster blockbuster" that focuses on 3D visual effects, but "Jaws" has been replaced by "Big Spider."

All kinds of screenwriters launched new works, and the series of animated movies developed steadily

It is also worth noting that the two new films filed by Yindu are "The Wicked Are Not Bad," written by Gu Dezhao, and "Moonlight on the Fifth Day of October," written by Ye Nianchen. The former tells a story in an old community in Hong Kong, and the latter takes place in Macau. The story synopsis reflects the focus on the joys and sorrows of the little people, which is more in line with the style of Yindu movies.

In terms of fantasy themes, there are "Eight Immortals" written by Wei Junzi and other screenwriters, "Wood Armor Love" written by Qiu Chuji; small and medium-sized thrillers include "Dish Immortal"; in addition, the series of cartoons "Pig Man’s End Battle" and "Sale Movie 5" have also been officially established, and children have no shortage of movies to watch.

1905 movie network news According to Cat’s Eye data, with the box office breaking through 140 million, Deng Chao’s personal film has accumulated more than 10 billion yuan and successfully joined the actor’s "tens of billions of box office club".

"Galaxy Tutoring School" has nearly 100 million yuan at the box office in the previous large-scale screening. After the official national release today, it has successfully helped Deng Chao’s total box office to pass the 10 billion mark. Deng Chao is the 9th 10 billion filmmaker in the Chinese film market, and the 4th Chinese 10 billion filmmaker after Wu Jing (12.209 billion), Shen Teng (11.013 billion) and Huang Bo (10.043 billion).

Deng Chao starred in the top ten films at the box office as follows:

1.33.86 billion

2.10.46 billion

3.8.13 billion

4.6.65 billion

5.6.48 billion

6.6.29 billion

7.5.39 billion

8. (voice) 324 million

9.3.05 billion

10.2.86 billion

Deng Chao has been in the film industry for 13 years since he participated in "Assembly" in 2007, and his film genres cover comedy, love, science fiction, plot and other dimensions. Among them, the release of "Mermaid" in 2016 became an important node in his box office history. The film had won the success of 3.386 billion that year.

In addition to the four Chinese male movie stars, the Marvel actors who have made tens of billions of box office in the Chinese market are: Scarlett Johansson (12.533 billion), Robert Downey Jr. (11.975 billion), Chris Evans (10.805 billion), Chris Hemsworth (10.28 billion), Mark Ruffalo (10.207 billion).

As of press time, the total box office of "Galaxy Tutoring School" has reached 143 million. The film is co-directed by Deng Chao and Yu Baimei, and tells the story of a father and son who span a long time to protect love and family.

"Running Man" ("Running Man" for short) was undoubtedly a shining star in the Chinese variety scene. From its first broadcast in 2014 to becoming a source of laughter after countless families’ dinners, "Running Man" has allowed audiences to witness a series of exciting, funny and touching moments. However, recently, another veteran member announced his withdrawal, causing countless fans to sigh. The joining of White Deer and Fan Chengcheng failed to prevent the star’s gradual decline. Is "Running Man" really reaching a bottleneck period?

1. The members withdrew again, causing the fate of the show to rise sharply

It is reported that the announcement of the retirement this time is one of the old members of "Running Man", whose humor and enthusiasm have greatly enhanced the show. The news quickly spread on social media and caused a huge response. Viewers expressed their disappointment and reluctance: "I feel that something is missing from the departure of the old member," one loyal viewer wrote on Weibo. Many people worry that such a change will leave the show with a lack of chemistry and a less natural atmosphere than in the past.

2. The show goes from peak to gradual cooling: there are obvious traces of personnel changes

The success of "Running Man" is no accident. Its core charm lies in the interaction and tacit understanding among the members. However, over time, the original members gradually withdrew and were replaced by fresh faces. However, these new members, although unique, have never been able to completely replace the old members in the hearts of the audience. Fan Chengcheng and Bailu are undoubtedly powerful entertainers, and they also contributed many highlights in the show, but overall, the show seems to have lost its original purity and joy.

3. The charm of old members: the reluctance of the audience

The veteran, who has announced his retirement, has become a classic in the hearts of audiences over the years of "Running Man." Every time he appears, he always provokes a burst of laughter and applause. His unique sense of humor and affinity make him a "seagogue needle" in the show. Audiences have deep feelings for these familiar faces, so when they leave, it is not just a blow to the show, but a test of audience emotions.

4. Bailu and Fan Chengcheng: Fresh blood is not enough to save established shows

The production team of "Running Man" had hoped to inspire new vitality by introducing young idols such as Bai Lu and Fan Chengcheng. Bai Lu won the love of many fans with his bright personality and solid acting skills; Fan Chengcheng’s addition also added a lot of freshness and excitement to the show. However, it turns out that relying solely on the personal charm of the new members is not enough to fully make up for the vacancy caused by the departure of the old members. In the face of huge variety show market competition, such adjustments seem to be a drop in the bucket.

5. The talent turnover of variety shows: a hidden concern that cannot be ignored

The replacement of artists is the norm in the entertainment industry, but for a long-running variety show, the frequent change of core members is undoubtedly a huge challenge. On the one hand, new members need time to break in with the show, and on the other hand, the audience also needs time to accept and like these new faces. However, when the audience has become accustomed to the existence of old members, the addition of new members often brings discomfort and resistance, rather than expectation and joy.

6. Social media reverberations: Audience calls for authenticity

On social media, many viewers expressed concern about the current state of the show: "I hope the program team can plan the lineup of members more stably and in the long run, and do not treat the audience’s emotions as child’s play." Such voices reflect the audience’s appeal for the production idea of the show – hoping to maintain the original style and characteristics of the show, rather than changing frequently to meet the rapidly changing needs of the market.

7. The future of Running Man: How to regain lost luster

How to maintain the vitality of the show through the replacement of new and old members is a major challenge for the production team of "Running Man". Perhaps through more careful planning and production, the new members can build a deep emotional bond with the old audience, which is the key to the resurgence of "Running Man". Variety shows need freshness, but more importantly, they need a stable core team to support their long-term development.

8. Implications for the entire variety show industry

The phenomenon of "Running Man" has also triggered deep reflection on the entire variety show industry. Will frequent member changes have a negative impact on the overall quality of the show? Does the high mobility of stars mean that the life cycle of variety shows will be shortened? These are all questions that need to be reflected and discussed by industry insiders.

9. Rise and Fall: The Reality of the Variety Show Life Cycle

Every variety show has its own life cycle, from the initial novelty and popularity to the gradual lackluster and fall back, which is an inevitable process. The key lies in how to continuously innovate and debug during this process to maintain the audience’s interest and attention. For "Running Man", how to regain the lost innocence and enthusiasm will be the key to whether it can continue to attract audiences in the future.

10. Conclusion: Audience expectations and future prospects

Although "Running Man" faces many challenges, we still hope that it can rediscover the happy time that once accompanied countless audiences through continuous adjustment and innovation. After all, a successful variety show is not only a stage for stars, but also the emotional sustenance of the audience. I hope that in the days to come, we can continue to see the infinite joy and surprises that "Running Man" brings to us on the screen.

In this case, viewers must be patient and continue to support their favorite shows and stars. Mindful production and audience engagement may be the key factors that will make "Running Man" work out of its predicament.

Responsible editor:

Time Editorial Department | Hidden Drink

Heal life with movies.

The new films of the Dragon Boat Festival have been introduced to everyone one after another. I don’t know how many you have watched? Today, Shi Guang is here to talk about the most literary and artistic Chinese crime film in the entire schedule – "Tropical Past".

Ning Hao’s producer, Peng Yuyan, Zhang Aijia, Wang Yanhui, and Zhang Yu were starring. Just looking at the names of the creators behind the scenes in front of the stage was enough to attract people. What made people even more eye-catching was the movie’s trailer and poster.

The rich colors of light and shadow are blurred and retro, and the sultry and humid summer night in the south is approaching, conveying an indescribable ferocity and heat. In the short preview, the large-scale violent footage is quite eye-catching.

The lingering and seemingly unspoken feelings between Peng Yuyan and Zhang Aijia also made people very curious. Peng Yuyan was so thin that his vertebrae protruded, which made people gasp for breath. It seemed that he was "abused" again this time.

Take a look at the director Wen Shipei, a name that is still a little unfamiliar to movie fans. "Once Upon a Time in the Tropics" is his directorial debut. The film is also the latest work of the "Bad Monkey 72 Change Film Project" initiated by Ning Hao, which has promoted famous directors such as Wen Muye and Lu Yang.

After watching the whole film, Shi Guang’s harvest is a sense of surprise and disappointment. "Once Upon a Time in the Tropics" is actually a bit like a low-end version of "The Wild Goose Lake". The similarity between the two is that the director’s exploration of audio-visual language is better than the story itself. However, director Diao Yinan is obviously more mature and better at complex audio-visual design. Director Wen Shipei’s personal style is more unique and obvious, and he prefers to use audio-visual language to assist and strengthen the narrative.

As a director’s debut, the completion of "Once Upon a Time in the Tropics" is still worthy of recognition, but the overall "form outweighs content".

The jumping narrative style, weak story, and flat supporting roles have made the film’s reputation slide towards imperfection and full of shortcomings. (There are a few spoilers below)

Lonely Song

"Once Upon a Time in the Tropics" tells a bizarre story of crime and redemption. The film is based on Peng Yuyan’s role as the suspect Wang Xueming as the first perspective. It is a rare "suspect’s perspective" in Chinese crime films.

Wang Xueming used to be a seemingly ordinary air conditioner repairman. He recalled the past in solitude in prison, but the past became more and more noisy and blurred. From the beginning of the film, the shot of the cow lying by the roadside hints at the unpredictable and accidental fate of the protagonist.

In the eyes of the male protagonist, there is a kind of beast-like ferocity and hesitation like a battle of trapped beasts. Zhang Aijia plays Liang Ma, a middle-aged woman who has lost her husband. Before that, she had accidentally lost her son.

Wang Xueming thought he had accidentally killed Liang’s mother’s husband, Lao Liang, but he didn’t expect to be involved in a more complex homicide.

The scene was well filmed: Ms. Liang’s friends flocked to her, expecting her to be devastated.

However, in the face of those real or fake comforts, she twitched the corners of her mouth, tried to create a smile, and only said "I can’t cry".

Only when no one was around would she cry out loud. Wang Xueming was tortured by his conscience, and he longed for redemption. Taking advantage of the opportunity to repair the air conditioner, his life with Liang Ma unexpectedly intersected. After going back and forth, Liang Ma opened her heart to this stranger, and the single middle-aged widow’s life was empty.

She even kept Wang Xueming for a meal, because "with two people, I can still make a good meal." Under the warm yellow light, this was a short-lived warmth of the suspect and the victim’s family, full of irony and black humor. In the hot summer of Guangzhou, the broken air conditioner had not been repaired, and in the sultry heat that the fan could not blow through, the shoulder straps of Liang’s skirt slipped off inadvertently, and Wang Xueming’s whole body was soaked in sweat.

In some moments, the thin young man in front of her reminded her of her son, and in other moments, the relationship between the two revealed a dangerous and ambiguous atmosphere. A lit cigarette cut through this ambiguity, making people can’t help but guess that something will happen to them, but everything comes to an abrupt end. The base color of the whole movie is actually about two people who are deep in "loneliness".

Wang Xueming looked more like an orphan. He lacked love and was only in love with his girlfriend. He chose to repair air conditioners as a career, which would allow him to go to someone else’s house and temporarily become a part of that family, so as to feel’love ‘. In Peng Yuyan’s own words, these were two lonely people who wanted to rely on each other, not caring who the other was or what they had experienced, as long as they could keep warm.

The English title "Are You Lonesome Tonight?" is also a song of the same name that is repeated in the film. It is sung by the blind singer played by Zhang Yu, which has a special flavor. This old song sung by Elvis Presley appeared in "Guling Street Youth Murder" directed by Yang Dechang.

Used here, it is not only a tribute full of mystery, but also points out the essence of the "loneliness" of the relationship between the male and female protagonists.

Great atmosphere

As mentioned earlier, the film’s outstanding feature is the audio-visual language. The film creates a strong atmosphere, just like the title, full of a strong "tropical" atmosphere.

The torrential rain pouring down in the film, the damp clothes on the protagonist, the slight reflection of sweat on the skin, the broken air conditioner and the constantly turning fan, the ubiquitous chirping of cicadas, and Peng Yuyan’s bare upper body…

The director is adept at using details to outline the humid, hot and restless southern summer fascination of Guangzhou. Even in the air-conditioned cinema, the audience can instantly feel it.

This atmosphere contributed to the story, as the preview said, "That summer was particularly hot. The weather was hot, and people were hot, and when people were hot, they were restless."

Whether it is the low-light photography style or the highly saturated neon lighting, the film’s colors are intense and retro.

The widespread use of dark red tones exacerbates this dangerous, blurry, and bloody atmosphere.

Some of the shots in the film exhibit rough noise and a unique glass-like texture.

"This movie is about remembrance and redemption," the director explained. "I have the impression that memories should be vague, even unreliable."

"So we chose a very antique lens, and then the director of photography put a layer of stockings on it, not just a filter shot."

Indeed, the cinematographic style of this film can be said to be unique among recent domestic films. Under the shell of violent crime films, there is also a beautiful dream like the past. In terms of performance, Zhang Aijia’s performance seems to be light, and her micro-expression processing can be described as "delicate".

Peng Yuyan lost a full 16 kilograms this time, and broke out with a makeover of his acting skills.

With his thin body and decadent eyes, he was finally no longer a spiritual boy with tendons, but a borderline man, although his face was still a little too handsome.

The role of Wang Xueming is full of a sense of self-condemnation and depression, and Peng Yuyan has well grasped this inner pain and suffering mental state.

shortcomings

We have mentioned many advantages earlier, but let’s talk about the shortcomings of "Once Upon a Time in the Tropics".

The director presents the story by constantly interpolating and flashbacks, and even changing the narrator’s perspective. The narrative is multi-line collage, which includes elements of tribute to the executive producer Ning Hao’s "Crazy Stone." But this kind of fragmented editing that is half-covered and disrupts the timeline may not be friendly to the average audience, and it is easy to cause difficulty in understanding or confusion in details.

In the second half of the film, there are a lot of unexpectedly bloody and violent scenes. Coupled with the design of sharp and heavy bass, the suspense atmosphere is very hard to create. But the sound effect is a bit excessive, which inevitably appears to overwhelm the guests, and gives people a deliberate sense of deliberately creating suspense, which is a bit "mysterious".

Behind the full audio-visual effects, it is difficult to hide the paleness of the story and the flatness of the character portrayal.

The core of the film is about "redemption", but the director’s understanding of "redemption" seems to be a bit one-sided.

In the final teaser, Wang Xueming says, "I killed your husband. I’m sorry." In the movie, this sentence is not just a self-talk, but he tells Liang’s mother in person. Although this face-to-face confession is very dramatic, it undermines the credibility of the story. If the sentence "I’m sorry" is a heavy human life, the suspect may not be so easy to say.

Besides, it’s futile to say it, do you want the victim’s family to say "it’s okay"?

This "I’m sorry" should have been hidden in the bottom of my heart forever, and my conscience was tortured and I couldn’t say it, so that the weight of self-blame would be heavy enough.

Except for Peng Yuyan and Zhang Aijia, the other characters are almost reduced to "tool people", and the police officer played by Wang Yanhui does not have much room to play. The story lines of "Wang Xueming’s girlfriend" and "Shadow Killer" are so endless that people can’t figure it out.

In the second half of the film, the assassin who appeared in a flash was actually an important figure in the plot, but there were almost no lines throughout the whole process, and the motivation of the character was also very vague. At first, Shi Guang didn’t even recognize this new character, thinking that it was Zhang Yu’s blind man who took off his sunglasses.

Finally, I want to say that the reputation of "Tropical Past" is easy to fall into a situation that is not flattering on both sides.

As a literary film, it has highlights, but its reputation is not so strong. As a genre film, the narrative and story are a bit dissuasive to the audience.

Zhang Aijia said at the film’s premiere: "This film is about an emotion, a feeling, but you can’t explain it clearly. I don’t think you need to explain so much, just feel it." This sentence is you taste it, you taste it carefully, in fact, it is quite right. Just feel the atmosphere and emotions, and don’t bother about the story.

Recently, Liu Yifei’s photo on the inner page of Venezuela’s Ocean Drive magazine was exposed online. In the photo, Liu Yifei is wearing a red dress and has big red lips. She is very beautiful.

The red dress worn by Liu Yifei looked like a fairy, and the mint green fan in her hand also responded to the background behind her. Liu Yifei, who appeared in the shape of red lips, gave people a very amazing feeling, and her eyes revealed a kind of firmness.

Liu Yifei, whose hair is tied into a high ponytail, has another angle of appreciation. This dress, which mixes red and black elements, also reflects another beauty of Liu Yifei: toughness and independence.

The combination of this black cheongsam and black headband makes Liu Yifei look domineering. In the magazine Ocean Drive, Liu Yifei’s looks are full of antique charm, making it easy to think of her film "Mulan".

It is reported that the movie "Mulan" starring Liu Yifei has been confirmed to be released in North America on March 27 this year. This is also Liu Yifei’s most talked-about work since the beginning of the year.

For Liu Yifei to successfully accept the role of Mulan, director Nikki Caro also revealed one of the reasons: during the casting, Liu Yifei overcame the physical discomfort caused by jet lag and carried out a 90-minute physical training. This kind of perseverance is exactly what the character of "Mulan" wants to convey to the audience.

For the sake of the role, Liu Yifei spent six to seven hours training every day for three months. Ninety percent of the action scenes in the film were completed independently by Liu Yifei herself, rather than relying on post-production special effects, such as horseback riding, swordsmanship, martial arts, and so on.

Liu Yifei’s hard work for this role has also rewarded her a lot. She has been on the cover or inside pages of international renowned magazines many times with her role of "Hua Mulan", and has become the focus of global attention. Looking forward to her performance in the movie.

Guo Fucheng

1905 movie network news On May 4, it was reported that international superstar Kwok Fu-shing was invited to serve as the ambassador of the 43rd Hong Kong International Film Festival (HKIFF43). Kwok’s acting career spans TV, film and stage. He is excellent in front of the screen, singing and dancing. At the same time, he is passionate about charity and charity. He is one of the few all-round artists in Hong Kong. With his international reputation and influence, he will work as an ambassador to promote film culture in Hong Kong and around the world.

"It is a great honour for Mr. Kwok Fu-shing to be invited to serve as the ambassador of the Hong Kong International Film Festival, which will open in mid-March next year. Mr. Kwok has a pivotal position in the film, music and performing arts industries and is a household name in Asia. He won the Hong Kong Film Awards for Best Actor in 2015 for" Blood in Search of Plum Plum ", which was also the closing film of the 39th Hong Kong International Film Festival. He also won the Taiwan Golden Horse Awards for Best Actor in 2005 and 2006 for his films" Three Forks "and" Father and Son "respectively. Mr. Kwok actively nurtures new directors and performing arts talents, and we believe that with his strong support and promotion, the message of Hong Kong Film and the Hong Kong International Film Festival will further gain global recognition."

"It is a great honor to be the ambassador of the 43rd Hong Kong International Film Festival and to contribute to the promotion of excellent films and film culture," said Mr. Kwok. "As we all know, the Hong Kong International Film Festival is an annual event that attracts many fans and industry people from all over the world to attend every year to share and watch good films in different styles. I hope everyone will support it."

Past Hong Kong International Film Festival Ambassadors:

HKIFF38-42 (2014-2018): Louis Koo

HKIFF35-37 (2011-2013): Miriam Yeung

HKIFF33 (2009): Karen Mok

HKIFF32 (2008): Samantha Cheng

HKIFF29-30 (2005-2006):Andy Lau

HKIFF27 (2003): SHINE

Introduction to the Hong Kong International Film Festival (HKIFF)

The Hong Kong International Film Festival (HKIFF) is one of the most prestigious film exchange platforms in Asia. Film industry professionals and fans from all over the world gather here to showcase new films and enjoy masterpieces.

The festival is the largest cultural activity in Hong Kong, with more than 230 works from over 50 countries screened at more than 10 major cultural venues in Hong Kong every year. Over the past seven years, the Hong Kong International Film Festival has produced and premiered a collection of short films by many famous Asian award-winning directors, including Hui Anhua, Kurosawa Qing, Jia Zhangke, Brie Yang Wen Dusa, Hideo Nakata, Cai Mingliang, Apica Bonweras Huagu, etc. From 2017, the Hong Kong International Film Festival will cooperate with Heyi Films to select two Chinese rookies to shoot feature films every year, which will be premiered in the world during the festival.

The festival showcases the diversity of Chinese-language films and discovers new blood in the Asian film industry. Fans can not only watch world-class films, but also have direct conversations with top filmmakers, visit exhibitions, attend celebratory parties and other exciting activities.The film festival attracts more than 300 Chinese and foreign media reports every year, making it a leading film distribution and exchange platform in Asia.

The 43rd Hong Kong International Film Festival (HKIFF43) will open in mid-March 2019.

　　Recently, the love inspirational film "10,000 Kilometers Promise" (hereinafter referred to as "10,000 Kilometers"), which was co-produced by Jay Chou and Wang Continental for the first time, has entered the post productin stage. The film is produced by Jay Chou and Lin Yijie, directed by emerging director Hong Yuyang Sincerely, and co-starred by Huang Yuan, Wang Continental and Lai Yayan. It tells the romantic story of the male protagonist who promises to run a 10,000-kilometer marathon within the specified time limit in order to help the female protagonist realize his dream, and in order to complete this goal, he ignites the struggle. This film is the first cooperation between Jay Chou and Wang Continental on the big screen. Wang Continental is even more confident that "the new film will not lose" My Girls’ Generation ", which attracts people’s expectations.　　

　　Jay Chou oversees the production of "10,000 Kilometers" as "Dream Spokesperson"

　　As Jay Chou’s production debut, talking about the original intention of supervising the production of "10,000 Kilometers Promise", he admitted that he was touched by the inspirational experience of his friend Lin Yijie’s marathon runner, "Lin Yijie’s experience is the best nutrient for the movie". In this film, Jay Chou is even more incarnated as a "dream spokesperson", hoping to let the audience see a hot-blooded movie with tears and ignition flying together, and pass on his beliefs step by step through the marathon spirit, inspiring young people to pursue their dreams bravely.

　　After "Initial D", "Unspeakable Secrets" and "Rooftop Love", Jay Chou experienced the stage of "acting and leading". In the movie "10,000 Kilometers", he transitioned from a performer in front of the stage to a behind-the-scenes producer of the movie. Therefore, Chairperson Chou is also looking forward to this film. The film only took two years to prepare. In order to faithfully present the dangers that the polar marathon may encounter, the desert, rainforest and sea in the film are all shot on the Silk Road in the Chinese mainland, Salt Lake in Utah, Utah Valley in the United States, and other places.　　

　　Wang Continental is confident that "he will not lose" Girls’ Generation "to star in" Running Hormones "

　　With the release of the pilot trailer, the shape of the marathon runner played by Wang Continental is eye-catching, and the exciting character is affectionately called "the running hormone" by fans. At the same time, in the exposed clip, a scene of Wang Continental and Huang Yuan scuffling in heavy rain and mud is also exciting. Wang Continental joked that the two were full of mud at the time, which really looked like they were shooting an epic action movie. Fortunately, the effect of the shooting was very good, "It’s finally worth eating dirt!"

　　In the first media interview in the mainland of the film, Wang Continental’s sentence "The new film is not inferior to" My Girls’ Generation "instantly whetted the audience’s appetite. Talking about his role in the film, Wang Continental confidently said that the characters in the film are completely opposite to Xu Taiyu’s school bully image, hoping that this film can let the audience see a new Wang Continent.　　

　　It is understood that the film "Ten Thousand Kilometers Promise" has an investment of over 100 million Taiwan dollars. It is produced by Jay Chou and Lin Yijie, and directed by emerging director Hong Yuanyang in good faith. Huang Yuan, Wang Continental, and Lai Yayan co-starred. It is reported that the film is also Wang Continental’s first appearance on the big screen after "My Girls’ Generation".

Recently, Hero Entertainment CEO Wu Dan was interviewed by the domestic CG industry media. In the interview, he also mentioned the reasons for investing in "Black Myth: Wukong". Let’s take a look.

Interview video:

Original content:

"Making world-quality games is what I want to do now."

– Wu Dan

With the development of the times and the progress of social needs, the game industry is now gradually changing on the way forward, and major game manufacturers are increasingly paying attention to the quality of games.

Although not many games have been released this year, it is obvious that there is an "undercurrent" surging fiercely behind the game industry.

A certain manufacturer has acquired a game developer.

How many shares did a certain manufacturer invest in a certain company?

A well-known person in the game industry joined a factory…

All kinds of news like this have come out in 2021, and it seems that major manufacturers are hiring and investing.

With questions about the current investment situation in the game industry, we contacted Hero Games and interviewed the former Vice President of Zhen Fund and current CEO of Hero Games: Mr. Wu Dan (Daniel).

I hope to learn from the CEO of this game company about the attitude of big companies towards game art, his ideas for investing in games and management teams, and the quality and requirements of the CEO of a game company for talents and their own game products. This will bring some experience to game art practitioners and reveal how the most successful game investors choose to invest in games.

Daniel Wu, co-founder of Hero Entertainment and CEO of Hero Games, graduated from the University of Toronto with a degree in business administration.

After one and a half years of joining Zhen Fund, he was promoted to Vice President of Zhen Fund. On behalf of Zhen Fund, he has successfully invested in games such as "Blade of Shadows", "Superheroes", "National Shootout", and "MT Gaiden", including the mobile game "Vanity" recommended at the Apple iPhone 6 conference.

It is difficult to let go of past achievements at will.

Long before the birth of Hero Games, Wu Dan was already a very good game investor and achieved high professional achievements. After a year and a half of joining Zhen Fund, he became the youngest vice president of Zhen Fund.

This resume can be said to be very dazzling, but he doesn’t think so.

During the interview, facing such a "legendary" figure, we were driven by curiosity and wanted to ask him about his previous achievements.The hero does not mention the courage of the year"He said with a faint smile:" Those achievements are not very high, even if I think it is now, it is only a drop in the ocean. "

Then he naturally began to tell us about his experience in making games after changing roles.

From a pure investor to an entrepreneur and manager, making all the decisions, the change of identity has actually made him make a lot of changes.

Compared with the previous investment, he did not need to tear down personnel structure management and project direction control. Now he obviously pays more attention to strategic direction and organizational management capabilities.

In the chat, he also told us bluntly that the wrong strategic direction was chosen, and the team’s three years were wasted. If the management ability is insufficient, then a team of hundreds of people will have many problems.

Although he carried more responsibilities, when we talked about the mission of the hero game and the game he made, he instantly became refreshed and said eight words casually. "World quality, made in China".

In fact, it can be seen from the introduction on the official website of Hero Games that they are a game manufacturer that has always strived for world quality.

And from this interview, we found that they are a company where everyone adheres to this philosophy.

"Of course, this road is definitely long, but we are definitely aiming for this."

In recent years, a number of large game companies have launched investments in various small and medium-sized game companies, and some have even directly acquired and merged.

Among them, hero games are among the best in terms of investment.

Under the leadership of Wu Dan, Hero Games has been successful in foreign investment in recent years. Among them, "Black Myth: Wukong" is a very successful investment.

This not only demonstrates Wu Dan’s unique vision, but also further demonstrates that he is a successful game investor.

"The first element of investment is the team, not the direction."

The second is to prioritize scarcity.

In the interview, he said that the team of "Black Myth: Wukong" can handle the industrial management of more than 250 people, and the members of the team themselves have rich experience in game production and can control large-scale 3D MMO games, which is extremely rare.

With his unique vision, he took a fancy to the team and the scarcity of the game "Black Myth: Wukong" and decided to participate in the investment.

The third is the commercial nature.

Art and business, in his opinion, are one and inseparable. He takes this very seriously in his investments, he believes, "If an art does not have commercial laws, it is easy to die".

When talking about the nature of art and business, it can be seen that he very much agrees with the concept of "you have me" in art and business.

Whether a game can be popular or not, in addition to the delicacy of the game and the exquisite art, the commercial attributes behind it have always been in Wu Dan’s consideration. For him, investing in games cannot be completely divorced from the laws of business.

Should the development of a game focus more on content, technology, or art?

Different people may have different understandings, and when it comes to choosing, there may be some torn.

But for Wu Dan, this problem is not a problem. He told us that hero games are all about finding art first, then planning and technology.

"Art must be the player’s first perception, and the first perception determines many things"…"

In his understanding, the art style may not determine the success or failure of a game, but it can determine the initial power of the game and the final ceiling of the product.

He and Hero Games place more emphasis on whether art can achieve an extreme effect, not limited to "What style of game is popular?","What style of game sells well?"From a popular style perspective.

He believes that when the art style of a game reaches its peak, there are no small-style games, but rather large-style games.

At the same time, for him, the choice of artistic style is equivalent to personal taste and brand.

He believes that in the process of making a game, the further back you go, basically a lot of things have to revolve around art, with art as the center for subsequent development.

"In fact, the management style of our entire company, whether it is planning, technology, or producers, all respect art. We don’t like to make particularly strong propositional essays. We usually have a big set direction. What kind of world view and what kind of style of artistic expression are actually determined by art."

For hero games, there have always been three tracks.

One: Sandbox survival game.

Two: high-quality content games.

Three: high-quality numeric-centric games.

These three tracks are the direction in which Hero Games has always been developing, and they are also the key development directions of Hero Games.

In today’s game market, many game companies have multiple or multiple types of successful products.

But it doesn’t seem to be the case for him. Instead of pursuing diverse development, he chose to focus the hero game on these three tracks.

Rooted, solid, and focused, in the process of chatting, you can see his perseverance and the clear direction of the future development of hero games in him.

And among these three tracks, sandbox games are the key track for hero games.

When we talked about the hero game in 2022, it seemed that there was a game about to be launched with the theme of "Create it! Our Planet", Wu Dan became very excited.

He told us that this is one of the key projects of Hero Games on the sandbox track, and it is a game they have iteratively upgraded based on the game "Creation and Magic".

"We want to create a world with no limits and countless flashes of style."

He introduced us to the game in great detailWorld view, design style, creative philosophy, degree of freedom, etcInformation, and even during the commentary, you can see his love and anticipation for this game in his eyes.

From his eyes, it could be seen that Wu Dan was full of confidence in this game that had not yet been launched. His confidence also made us look forward to a world full of imagination and creativity.

Wu Dan: "We want the player’s imagination and the space to create and play, the default is unlimited."

This interview lasted a total of one and a half hours, only 90 minutes. In fact, it is difficult to show this "legendary" game entrepreneur in three dimensions.

A simple black suit could not conceal his love and persistence for the game.

He revealed the characteristics of gamers, allowing us to see every gamer who is persevering and working hard in this industry.

He gives people a sense of ease and composure, but his words are very firm and powerful.

Seven o’clock:"After working on the sandbox for so long, have you ever thought of giving up or doing something else?"

Dan Wu:"The country has invested so much time in the realistic sandbox. In fact, there is no other one except us. There is no second one."

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