Distribution of Jia Zhangke Talks and AI in Venice MasterClass

Chinese author Jia Zhangke took the stage on Venice Film Festival For a wide master class that crossed its career, its parallel work as a distributor and his thoughts on the future of the cinema at times Ai.

Jia, who first attended Venice in 2000. years of his second characteristics “Platform”, and later won the Golden Lion in 2006. year for “dead nature,” he spoke sincerely about his expanded role in the Chinese film industry outside the director. At the beginning of 2025. years, he Images of founded unknown pleasures With distributors of Veteran Tian Ki to bring international art films to the Chinese market.

“I have no knowledge or experience in distribution, but I am also a film fan,” Jia said, explaining that the endeavor was searched and passionate and need. “China has more than 80,000 screens. We need more great films to meet them, because it is very universal culture. Not only do not only focus on our own movies, but not only focus on your movies.”

The Jia pointed out the successful edition of Apirachong Veerasethacakac’s “Memorial”, which became territories at the top of the film around the world, as evidence of a strong audience base in China for international cinema. Since then, unknown pleasures of the image distributed the Italian Paola Cortellesia “is still tomorrow Chaplin” Golden Hale “, who visited eight Chinese cities.” Since the 1980s, China did not actually review the silent movies. For a young audience that Chaplin sees again, 100 years after the ‘golden rush “, it was very meaningful,” Jia said.

The director also reflected on the role of the founders of the Pingiao International Film Festival, which is now approaching his ninth issue. “Personal strength is limited, but the festival is a platform,” Jia said. “Allows young audience directors, critics and industry. Almost half of the films shown on Pingiao every year are later picked up on the distribution in China.”

Converting its own filmography, Jia has been withdrawn that each phase of his career shaped technological and social change. He noted that the “platform” was deeply personal, drawing the experiences of his sister, but arranging him to recognize the greater forces of political and economic transformation in the 1980s China game. In “Still Life”, he installed that the circumcision painter – such as a building floating like spaceships – to caught the disoriented speed of the Troje Brates project.

Jia also narkled the hug of digital filmmaking, starting with shorts like “in public” (2001) and “state of dogs” before moving in digitally with “unknown pleasures” (2002) and “world” (2004). “Any change in technology brings new opportunities,” he said. “With digital cameras, we could freely film in real spaces, carefully monitor actors and take a continuous performance in a way that was impossible with the movie.”

Recently, Jia experimented with and film products, producing five minutes short in cooperation with the Chinese company. “And it feels like playing chess at home, while filming the camera is like climbing mountain outdoors,” he noticed. “Different directors will choose different tools, but I’m still drawn in the camera and the real world.”

He asked about future plans, SEA discovered that after closing the long-spanish drama cycle (2015), “ashes is the purest white” (2018) and last year “caught on the touch”, intends to return to the immediate vicinity of modern life. “After the” caught tide “I will return to take the present,” he said, adding to hope that he will hope for a new narrative characteristic of this fall or winter. He also works on the documentary on the Cai Guo-Kiang artist, known for the pyrotechnic works, which will have AI-created colleagues called “Ai Cai”.

Jia admitted pressure on young film nuts in China, but called in perseverance. “Sometimes I worry my fans think I’m doing too much – distribution, festival, platform – but it’s all connected to the film,” he said. “When you see an option, don’t wait for someone else. Do it. Even little efforts can have an effect.”

Education for a moment of frustration, Jia said she found motivation backing to the work of the director to admire. “When I want to give up, I watch a movie like” Roma “and it oversees my passion,” he said. “Good movies remind us why we do it.”