Chapter 53: Major Awards Are Hard to Win

Why did Cao Yang invite representatives from Sony Pictures Classics and MK2 to screen the film? Both companies certainly knew the reason, or else Sony Pictures Classics would not have bothered to bring along Mikhalkov.

Two people came from Sony Pictures Classics: besides Mikhalkov, there was Bellman, one of the heads of the marketing department.

At this moment, Bellman and Mikhalkov were in a small meeting room, discussing Cao Yang's film.

"Director Mikhalkov, if you were a Venice Film Festival juror, standing from an impartial standpoint, how would you evaluate Cao's film?"

After finishing, Bellman emphasized, "Setting aside any biased stances, we need an objective judgment as a reference."

Mikhalkov spread his arms, shrugged his shoulders, and said with the unique humor of a Slav, "My dear Bellman, it's just the two of us here, no need to be so serious."

"You really should have listened to my suggestion: find an authentic Slavic restaurant, order a bottle of vodka, pair it with some garlic sausage and cold smoked fish, and preferably add some caviar and pickled cucumbers. Eating and chatting about this topic over that would be much more interesting."

"Mr. Mikhalkov..."

"Alright, alright, Mr. Bellman, you really don't have a single drop of humor."

Mikhalkov muttered softly in Russian, "Annoying German, an absolute idiot."

"Mikhalkov, I am fluent in German, Russian, English, Italian, French, and Chinese. I can understand what you are saying," Bellman said expressionlessly in Russian.

"Ha..."

Mikhalkov touched his large nose somewhat awkwardly, then let out a hollow laugh to ease the atmosphere, saying, "My dear Bellman, you truly are a well-read man."

Afterward, with broken and clumsy Chinese, he smiled and tried to pronounce two words: "Shabi!"

Seeing Bellman look over with a puzzled expression, Mikhalkov quickly added, "Alright, my friend, let's talk about the movie."

Mikhalkov knew that although Bellman was very capable, he was not a director after all, so he tried his best to evaluate the film using terms Bellman could understand.

"Cao's film uses a heavy amount of metaphor, and throughout the entire movie, the male and female leads barely speak at all. The progression of the plot relies entirely on their performances, which is no easy feat.

"Yet unexpectedly, the acting of both leads is exceptionally brilliant. Even without dialogue, they completely keep you engaged, allowing you to rise and fall with their emotions."

Pausing for a moment, Mikhalkov said earnestly, "If I were a juror, first of all, the film's director has put a tremendous amount of effort into cinematic language, which is worthy of recognition. Nominating him for Best Director would certainly face no objections.

"As for the performances of the lead actors, they can be described as supremely outstanding. I would nominate them for Best Actor and Best Actress—especially the male lead, whose role runs through the entire film and drives the plot forward. It is precisely because there is no dialogue that his acting foundation is highlighted even more.

"If I were sitting on the jury panel, I would argue fiercely for his Best Actor win!"

Bellman fell into deep thought. He truly had not expected Mikhalkov to hold such a high opinion of the film. The opinion of a Venice Golden Lion winner was certainly worthy of his serious attention.

"Suppose—and I mean suppose—we also take some external factors into consideration? Of course, I mean assuming Sony Pictures Classics does not get involved," Bellman asked again.

Mikhalkov smiled and pointed upward.

"Bellman, do not underestimate this academy. Their influence in Europe is hardly any less than that of Sony Pictures Classics. Moreover, haven't you noticed that this film is shot from a female perspective? You should understand my meaning."

Bellman nodded. He had already picked up on that to some extent beforehand, and naturally knew that films adopting a female perspective had a much easier time winning awards at the European Big Three festivals.

Mikhalkov let out a derisive chuckle, silently cursing the stupid German in his mind, before saying, "Judging by your expression, you perhaps only noticed the film's female perspective, but you still haven't truly understood it. Do you know why the male lead is invisible?"

Bellman had indeed noticed. With such a bizarre plot, it was hard not to.

"Is the director using an impossible invisibility in reality to corroborate that the male lead is actually a fantasy of the female lead, and not a genuinely existing person?"

"Haha, I knew it."

Mikhalkov laughed heartily, and again muttered in broken Chinese, "Shabi."

"Hmm? Sha-bing?"

"Ha, that's a local folk slang, it means praising you for being clever."

Mikhalkov hurriedly explained.

"My dear Bellman, what you can think of is merely the surface. You probably don't have a deep exposure to Buddhist culture, whereas I happen to know a little bit about it. Many of the male lead's actions, as well as the eye painted on his hand, involve a certain deity."

Bellman's eyes lit up. This time he was truly astonished: a female perspective, women's dignity, domestic violence, resistance, love, religion...

Based on these elements alone, if someone gave it a little push from behind, as long as there were no maverick weirdos on the jury, which juror would dare to openly object?

Even if they used the most common excuse—claiming the film's quality was lacking—anyone with functional eyes, even against their own conscience, would feel too ashamed to say the quality of this movie was poor.

A somewhat immature idea suddenly popped up in Bellman's mind, making his heart race. Suppressing his excitement, he tried to use a calm tone to ask Mikhalkov:

"Director Mikhalkov, do you think that with the help of this academy, coupled with our company's backing and promotion, is there any possibility—even a slight one—of touching the Venice Golden Lion?"

If they could help nurture another Golden Lion winner, whether for the company or for himself—though primarily, of course, for himself—it would bring extraordinary benefits.

Mikhalkov fell silent. For the Golden Lions, Golden Bears, and Palme d'Ors of Europe's Big Three, when the film's quality passes muster, a huge part of what determines the winner is no longer whose quality is superior, but rather a multitude of external factors.

Take Mikhalkov's own film *Urga*, for example. Why did it win the Venice Golden Lion in 1991?

The macro-background was that the northern giant bear was already faltering, member states were declaring independence one after another, and the dissolution was only waiting for the final official announcement.

Against this backdrop, from beginning to end, audiences did not see the traditional horse racing, wrestling, and dancing they might have expected in *Urga*; instead, the film was perpetually shrouded in a helpless and desolate atmosphere.

Its implication was self-evident.

Having such a film win the grand prize was the ultimate political correctness of that year.

The swan song of an empire.

In any other year, it might have won awards, but the probability of claiming the highest honor would have been very low.

"There is a possibility, but not a very large one."

Mikhalkov shook his head, then smiled and said, "Perhaps you could also give it a try. Even if it ultimately fails, it will still demonstrate your company's strength to that young director.

"Of course, the premise is that you must first see his sincerity."