At a panel on indie film production at the Shanghai Intl. Film Festival, Chinese and foreign producers discussed the shifting funding landscape for their projects over the years.
Nai An, the longtime collaborator of controversial “sixth generation” Chinese filmmaker Lou Ye, kicked off the talk with a look back at her producing career, which has spanned the entire range of his works from 2000’s “Suzhou River” to last year’s “The Shadow Play.” Nai and Lou both received five-year bans over 2006’s “Summer Palace,” which depicted the 1989 Tiananmen Square protests and was screened at the Cannes Film Festival without the permission of government censors.
A decade ago, Nai was forced to look to Europe for arthouse funding, which was largely unavailable in China. Her first seven or eight films were all made with foreign investment, she said – sidestepping the fact that most of them were also banned in her home country.
Nai An, the longtime collaborator of controversial “sixth generation” Chinese filmmaker Lou Ye, kicked off the talk with a look back at her producing career, which has spanned the entire range of his works from 2000’s “Suzhou River” to last year’s “The Shadow Play.” Nai and Lou both received five-year bans over 2006’s “Summer Palace,” which depicted the 1989 Tiananmen Square protests and was screened at the Cannes Film Festival without the permission of government censors.
A decade ago, Nai was forced to look to Europe for arthouse funding, which was largely unavailable in China. Her first seven or eight films were all made with foreign investment, she said – sidestepping the fact that most of them were also banned in her home country.
- 6/16/2019
- by Rebecca Davis
- Variety Film + TV
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