China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."



Reel Tensions: Trump Film Trade War Looms over Cannes

President Donald Trump has added a trade war to the cinema industry's list of concerns. Jim WATSON / AFP
President Donald Trump has added a trade war to the cinema industry's list of concerns. Jim WATSON / AFP
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Reel Tensions: Trump Film Trade War Looms over Cannes

President Donald Trump has added a trade war to the cinema industry's list of concerns. Jim WATSON / AFP
President Donald Trump has added a trade war to the cinema industry's list of concerns. Jim WATSON / AFP

Donald Trump's threat of tariffs on foreign-made films risks stoking tensions between the European and American film industries and dominating conversations at the Cannes film festival this week.

The US president has added a trade war to the sector's list of concerns that already included competition from streaming platforms.

The already tricky commercial outlook for big-screen owners and film producers darkened considerably last Sunday when Trump said he wanted 100-percent tariffs on movies "produced in foreign lands", AFP said.

Even if most observers think the proposal is unworkable, it risks destabilizing an industry that is highly globalized and depends on open trade.

"It'll be one of the big issues in Cannes," said Eric Marti from US-based media measurement agency Comscore.

He said statements from another American leader -- the co-CEO of Netflix, Ted Sarandos -- had also focused minds.

Sarandos said recently that cinema-going was "an outmoded idea for most people", pointing to the fact that audience numbers worldwide have not rebounded since the Covid pandemic.

The festival in Cannes from Tuesday will see directors, actors and distributors try to make sense of Trump's intentions and those of his Hollywood advisors, actors Jon Voight, Mel Gibson and Sylvester Stallone.

"We're a bit perplexed," Marti told AFP. "We don't know how it's going to work in practice."

- Extortion? -

Trump's tariff salvo is part of a picture of growing tension between Europe and the US over the film and TV industries since the former reality TV star returned to the White House in January.

As part of his ultra-nationalist "Make America Great Again" agenda, Trump's Republican administration also has EU regulations that protect and promote European cinema in its crosshairs.

The regulations take many forms but typically include measures such as taxing cinema tickets to fund independent filmmakers, quotas for European or non-English-language productions, or forcing major studios to fund domestic productions.

In France, American streaming platforms Netflix, Amazon and Disney have to invest in French-language films or series in order to operate in the country.

In a February 21 memo, Trump took aim at what he called "overseas extortion", with a particular mention of laws that "require American streaming services to fund local productions".

American film industry groups such as the Motion Picture Association and the Directors Guild of America (DGA) have also lobbied the Trump administration to protest against European regulations.

A group of leading French film figures, including "Emilia Perez" director and Cannes winner Jacques Audiard, fired back with an open letter to the DGA last month.

"At a time when the gap between the United States and the rest of the world is widening, we believe it is more important than ever for European and American filmmakers to remain united," they wrote.

French Culture Minister Rachida Dati vowed last week to defend French films "whatever the cost", noting that "on the other side of the Atlantic, powerful players in this industry are hostile to the French cultural exception".

Critics

Cannes has always championed independent arthouse films but it also reserves part of its program to Hollywood blockbusters made by major American studios to attract audiences.

This year will see Tom Cruise return for the world premiere of the latest and last instalment of his "Mission: Impossible" series, three years after he lit up the Riviera while promoting "Top Gun: Maverick".

While he can be expected to steer clear of politics and controversy, there will be plenty of Trump critics in attendance.

"Taxi Driver" star Robert De Niro, who is set to receive an honorary Palme d'Or, is one of the most outspoken, often struggling to find words harsh enough to condemn Trump.

Fellow New Yorker Spike Lee, who will present his film "Highest 2 Lowest" with Denzel Washington, raged against him in Cannes on 2018 after Trump refused to denounce violent far-right protests in Charlottesville, Virginia.

Trump's lawyers called the film "garbage" and "pure malicious defamation" when it came out on the eve of last November's presidential election.

Strong is set to return to Cannes this year as a jury member.