I Forged the Myth of the Ancient Overlords
Chapter 388 - 388 The pressure comes to the Golden Bear Award_1

Chapter 388: The pressure comes to the Golden Bear Award_1 Chapter 388: The pressure comes to the Golden Bear Award_1 Just as Lu Ban was winning award after award in Cannes, until his hands were full, the Berlin Golden Bear jury found themselves in a quandary.

According to the normal rules now, it’s not possible to participate in all three major film festivals at the same time.

Or rather, to win an award at a film festival, the film must premiere at that festival. Thus, for the past decade or so, no single film has managed to win the top awards at two festivals simultaneously.

There was a sense of mutual exclusivity in this.

After all, according to the standards of the jury, if a film won the Palme d’Or, then naturally, it should not win the Golden Bear or the Golden Lion.

Literati always have a slight sense of rivalry; if you think something is good, I must find some fault in it, otherwise, it feels like I’m just following your lead in judging the awards.

However, this time, “Days of Spring Without War” made the Golden Bear jury a bit uncertain.

The jurors had all seen the film in France and were naturally stunned by it.

If “Days of Spring Without War” had premiered at the Berlin Film Festival, there is no doubt that all the related awards, including the Golden Bear, would belong to Lu Ban. They would give him as many as he wanted!

But now, the Palme d’Or has taken the lead and awarded the grand prize.

What about our Golden Bear then?

If you say that Lu Ban should not be allowed to participate, doesn’t that mean the quality of the films at this year’s Golden Bear is a whole ten or so Golden Lions worse than those at the Palme d’Or?

But if we let Lu Ban participate, wouldn’t it be said that the aesthetic judgment of the Golden Bear is no good and just follows the trend?

The jurors were extremely conflicted.

Of course, in the end, they compromised.

Just imagine, if future generations look back at this year’s three major art film festivals and find that the Palme d’Or went to “Days of Spring Without War,” while the Golden Bear and Golden Lion went to other films, wouldn’t they doubt the judging standards of the Golden Bear?

What’s more fatal is if, by sticking to the rules, the Golden Bear side does not allow “Days of Spring Without War” to compete, and then those Italians who eat potatoes every day make an exception and award the Golden Lion to “Days of Spring Without War.”

Where would that leave the pride of Germany?

Thinking this, the jurors accepted “Days of Spring Without War” for consideration.

As expected, “Days of Spring Without War” which had swept Cannes, naturally swept Berlin as well.

In July, the rarely held summer Golden Bear Awards saw “Days of Spring Without War” achieve a grand slam, sweeping up several major awards including the Golden Bear for Best Film, the Silver Bear for Best Director, and Best Actor and Best Screenplay among others.

With this, “Days of Spring Without War” had only the Venice Golden Lion left in its journey through the three major art film festivals.

As the film gradually began public screenings in various countries and regions, more and more people felt what it was like to be “healed by the mood of Lu Ban.”

In North America, a special commentator for The New York Times commented on Lu Ban’s work:

“‘Peaceful Days in Spring’ is a film that guides people to feel hope through the display of despair. Like many war films that meticulously depict the intricacies of war, it actually aims to awaken the public’s fear and repulsion towards war by realistically showing its brutality, achieving an anti-war purpose. Director Lu Ban’s film, without a doubt, excels through its detailed portrayal of a world filled with despair and by depicting the destruction of beautiful things, it triggers the audience’s hatred and fear of such a world, thereby making them cherish the world that they have even more and fill their lives with hope. Therefore, it can be said with certainty that this is an anti-despair movie!”

In the United Kingdom, The Times interviewed a professor of film and communication studies from the University of Cambridge to get her views on ‘Peaceful Days in Spring’. She said:

“‘Peaceful Days in Spring’ is an experimental film that is completed with the participation of viewers, the director, and the actors. After the audience watches the story, they become part of it, continuing to enact the content of the story with other viewers who have yet to watch it. Director Lu Ban, through delicate emotions, splendid visuals, and brutal plot, has made the audience empathize deeply, achieving today’s effect. It is possible that such a script may exist in the future, a director like him may emerge, and such actors may be found, but the overlap of the three, achieving perfection, is only seen in ‘Peaceful Days in Spring’.”

In the Island Country, which most resembles He Dao in the setting of ‘Peaceful Days in Spring’, their report in Yomiuri Shimbun strongly criticized Lu Ban’s movie.

“Although the island culture depicted in ‘Peaceful Days in Spring’ is impeccable and expresses the beauty of sorrow fully, the He Dao government and our country’s government are by no means the same. Our country would never commit acts like those depicted in the film, where innocent girls are duped and harmed. Director Lu Ban’s act of using the film to insinuate criticisms of our traditional culture is a desecration of art!”

Of course, criticize as they might, ‘Peaceful Days in Spring’ quickly became number one at the box office in the Island Country. Coupled with the Island Country people’s trait of valuing weights heavily, the box office soared, rapidly reaching the top spot of the year.

Journalist Wang Qing from China Film Report was fortunate enough to interview Lu Ban and wrote a brief interview piece.

Q: Director Lu Ban, how do you view the international acclaim for ‘Peaceful Days in Spring’?

A: I believe that art is without borders. This film enables people to feel something similar, transcending culture and nations. This shows that our human civilization shares some commonalities, which are the ties that sustain our society.

Q: What about the negative reviews from official media in the Island Country?

A: I portrayed the style of He Dao, which might have similarities to real countries, but in reality, it’s completely different. For those who see themselves in it, I can only question how idle they must be.

Q: Some say that you are a domestic director who uses the background and culture of other countries in your films, suggesting a suspicion of idolizing foreign things, what do you think?

A: A story needs a suitable carrier. This story takes place on He Dao, and that’s something neither you nor I can change. I can’t hypocritically alter things that have already happened. The most excellent quality I have is honesty.

Q: Critics also say that you claim to heal people’s hearts with your film, yet you presented an extremely cruel story, almost deceiving the audience with such promotions. What is your take on this?

A: I don’t think there is a conflict. There are a thousand Hamlets for a thousand readers. Some people think my movie is cruel, some think it is healing, and others may think the movie’s ending is not dark, deep, or cruel enough. The fact that many different things can be seen from one ending is precisely why a story can be pondered and savored over and over.

Q: Finally, regarding Amber, the actress has not appeared in public. Is this some kind of promotion tactic or means of expression?

A: How about I let her answer this question herself?

Q: And where is Miss Amber?

A: She’s right here.

*

Please recommend and vote monthly!