LGBT films at festivals: What China films can teach that Hollywood doesn’t

Cannes International Film Festival, alone with the Berlin International Film Festival and Venice International Film Festival are the three most prestigious film festivals in the world where indigenous people disseminate their own culture to the world and foreigners bring their own culture to these festivals to communicate.

Due to globalism, the drive of the international film festivals, many directors become famous here and thus able to speak their demotic culture via an international language so that everybody else in the world can understand it.

For example, it is Hou Hsiao-Hsien and Zhang Yimou who applies the signature long take, wide angle and dramatic color contrasting so that international audiences can understand, hear, watch more Chinese-based movies. However, these director’s movies are not completely compliant to the international rules, there are still some differences, which is very unique no matter to their culture or to their experiences, existing in the movies, like the martial arts which is presented in “A Touch of Zen” (King Hu) and some special social problems especially existing in China which is presented by “The Story of Qiu Ju” (Zhang Yimou).

Yet, it is the “difference” and the “sameness” that is the essence of the globalism that promotes international festivals and benefits the world based on vicarious communication.

The 72-nd Cannes International Film Festival renders a message that film festival is no longer a medium to present films around the world but a Coliseum where fights begin. Unprecedently, there are a lot of films concerning social problems through confrontations between different parties this year, just like the “Atlantic” or “Young Ahmed” that focus on the immigration, “Matthias & Maxime” that partial to LGBT group and “Les Misérables” which attaches a great significant on violence in Paris. Read more via BZ Film