Wang Xiaoshuai on the set of Red Amnesia
Born in Shanghai but raised in Guizhou, Wang Xiaoshuai went on to study directing at Beijing Film Academy after an art education in the Middle School affiliated with Central Art Academy. According to Tony Rayns, Wang was the first who found money privately to make a film back in early 1990s when indie filmmaking was quite a daunting thing to do. The Days, an independent feature Wang made in 1993, did well overseas but enraged the local authorities: Wang then was banned from making films. Wang resumed filmmaking in 1998 and won Silver Bear Jury Grand Prix at the 2001 Berlinale with Beijing Bicycle. In 2005, his Shanghai Dreams captured the Cannes’s Prix du Jury award. Wang’s 2011 production 11 Flowers is regarded as the first official Chinese-French co-production. Red Amnesia is in the 71st Venice Film Festival Competition section.
The Chinese Film Market: How would you describe Red Amnesia?
Wang Xiaoshuai: It is a story about current China and how the people’s personality takes shape. It is about revenge, redemption and conscience.
CFM: What intrigues you to make Red Amnesia?
Wang: In the past 60 years, Chinese people have witnessed dramatic changes: what has evolved and what needs pondering. We need to be responsible of what is happening right now in China, to discuss what we are going through and what has nurtured the Chinese national character.
CFM: Who do you make films for?
Wang: I think it is very important to pay attention to what’s happening in our lives and how we feel about our society. My films are always about the things that we can see and feel among the people and in our social life. I make films for common people to share their life experience and stories, not just to entertain audiences.
CFM: You were in the Jury of the 2008 China Independent Film Festival. Do you think over the years, the indie filmmaking ecology has changed in China?
Wang: I think China Independent Film Festival (CIFF) is China’s most mature and successful independent film festival. It has discovered lots of outstanding documentaries and new, independent directors. Thanks to the ever-improving digital technology, more and more good indie films emerge in China. But these films can hardly have public screenings, and this is what the ecology has to change.
CFM: Maybe you have noticed that the authorities are helping some young directors in terms of arranging more screening slots for their films?
Wang: To improve the system might bring more sound development. Also, it is better to have an un-manipulated film market than to help young filmmakers in the above mentioned way. Films should find their audiences on their own.
CFM: Since an increasing number of writers and actors are becoming directors in China, some declare this poses a real challenge to professional filmmakers. Do you agree?
Wang: Directing is a comprehensive work. Zhang Yimou was once a cinematographer. It is natural other professionals come to be or want to be a director. Besides, the China market is spacious to have more filmmakers and diversity matters. Directing is an occupation that has no set rules.
CFM: Chinese students who major in filmmaking in western universities have gradually come back to China and film financing has become more diverse – do you think Chinese film has a future?
Wang: Chinese films will become better. It is the tendency. Influenced by European and American films, together with the impact from Korean and Japanese films, Chinese films will be more interesting if filmmakers can dance with the restrictions and communicate more with the audiences. With fewer road blocks and less misunderstanding, there is a future.