Artistic or commercial? As two evaluation criteria, shouldering different missions, seems rather antithetical on the surface. However, is this where the status-quo lies? Nowadays, film genres show the trend to diversified and subdivided, but homogenization of genres is still the dilemma of the industry. Are films with unique audio-visual styles and the spirit of experimentation the rigid demand of the market and the audience? Do the criteria vary from film festivals to film markets? What is the best way for young filmmakers to comprehend the criteria and cooperate it with their production?

All anxiety caused by the same cliche: ROI, it’s still the premise if the green-horn-filmmakers want to obtain recognition of the capital management and the market, other than creating personalize works which only discuss their own life experience. Although works such as OLD BEAST and DWELLING IN THE FUCHUN MOUNTAINS have received praise and awards presented by professionals, due to the limitation of Chinese film distributing situation,”Be seen by the mainstream audience”has always been a common concern at this stage.

Capital’s demands, market tendencies, and audiences’ needs affect the growth of young filmmakers jointly. Nowadays, supporting program for young directors are flourishing, but how many of those are offering the essential supports? How the intention of exploring niche genres will not fail due to the lack of investments caused by the unstable return model? Under the situation of audience becoming more critical and demanding, how to properly guide and adapt to the changes in their tastes, in order to reach to the target audiences more precisely? Or how to influence their taste by pulling some tricks, in order to draw attention for more films to be seen? How does marketing and distribution strategies can help in the early planning stage? Since the made of blockbuster relies more and more on the releasing schedule itself, will there be a new outlet for young directors with the rise of streaming platforms during the post-pandemic era?

Supported by YiMagazine


Zhao Jia – Editor-in-Chief, YiMagazine


*In alphabetical order

Ma Yingli – Screenwriter, Director, Producer

Song Jia – Vice President, iQiyi; Head of Film Center, iQiyi

Wang Yibing – Producer, President & CEO of Dirty Monkeys Studio

Xin Yukun – Director, Screenwriter

Zhang Wenbo – Founder of Bravo Entertainment, Producer