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On the evening of June 22, the 26th Shanghai International Film Festival Golden Goblet Awards ceremony was held at the Shanghai Grand Theatre. As the crew members of various competition films took the stage to receive their awards, they were met with enthusiastic applause from the audience. Holding the coveted Golden Goblet trophies, they shared their emotions and thoughts during a meet-and-greet for the award winners.
The film THE DIVORCE(2024) is set in the mid-1920s and uses the breakdown of a traditional small Kazakh family, led by the character Sarymsak, as a metaphor to explore the societal crises and marital relationships of the time. Director Daniyar Salamat had spent ten years preparing for the film, aiming to convey the historical weight of the narrative. "The film is laden with historical significance, and I wanted to show the changes that a person and a family may undergo during this period," Salamat explained.
With its strong theatrical style and play-within-a-play elements, THE DIVORCE(2024) presents a unique aesthetic challenge. Speaking of the film's style, the director mentioned, "We used both black and white and newer colors to create a contrast." The theatrical style poses significant challenges for the actors, demanding a fusion of performance tone and film style. Salamat expressed high praise for the lead actress, Omarova Amira, "Our lead actress was truly outstanding; she made tremendous efforts for the film."
The Argentine film ADULT (2024) might seem devoid of dramatic conflict, but it places a 14-year-old boy in the midst of real-life struggles, presenting his daily life in a documentary style that resonates powerfully. Director Mariano Gonzalez captivated the jury with his understated narrative about growing up. Asked what aspect of the film impressed the jury, Gonzalez responded with typical restraint, "You'd have to ask the jury; I didn't think too much about it, but I'm happy with the award!" He had previously noted that his subdued and steady filmmaking style reflects an "Argentine approach to cinema", aiming to delicately steer the narrative through psychological depths with simple statements that probe deeper issues.
The film premiered in China and received considerable attention and acclaim. "I am grateful to be able to tell this story in a light and humorous way to the Shanghai audience. I also hope to interact and learn from more talented filmmakers at the Shanghai International Film Festival," said Gonzalez.
SNOWFLAKES IN MY YARD (2024) tells the story of long-lost friends reconnecting through social media, viewed through the eyes of two disenchanted middle-aged men, capturing the shifts in Georgian societal life. Director Bakur Bakuradze's films are known for their unique style, and this film is no exception with its minimalist approach. The film features sparse dialogue and virtually no music. "The minimal dialogue reflects the characters' inherent reticence and difficulty in communicating with others; the lack of music mirrors the absence of music in their lives," explained Bakuradze.
The simplicity of the story resonates deeply due to its unique perspective on friendship. "The final screenplay was partly drawn from anecdotal accounts from friends and partly from my own life, with a touch of artistic embellishment," said Bakuradze.
The day of the award coincided with the birthday of Huang Xiaoming's grandmother, who raised him. "It feels like a twist of fate; it's just so coincidental," he reflected.
In the film, Huang Xiaoming plays "Wu You", a character he admires for his carefree nature. "I envy him because his world is free of worries. He simply reflects whatever he perceives." Yet, in reality, people live lives more akin to Wu You's brother, who is ”intensely real and fraught with everyday challenges”.
Huang, known for his dedication, has undergone significant physical transformations for his roles, such as gaining weight. Asked why he continues to push himself despite proven acting credentials, he sees it as the duty of an actor. "Every time I take on a new role, I commit fully to embodying it. Director Mao Weining recommended a book to me recently, 'Greenlights' by Matthew McConaughey, whose life resonates with me because he constantly challenges himself in life and uses these experiences in his acting. I enjoy testing my limits, perhaps due to my innate competitiveness, always eager to take on new challenges."
Having previously won Best Actor at the Golden Rooster Awards, the Hundred Flowers Awards, and the Huabiao Film Awards, this time, Huang adds the Golden Goblet Awards to his collection. Despite his joy, he remains philosophical about his achievements. "Life has its highs and lows. The sandcastles we laboriously build are quickly washed away by the tide, but that's okay because even fleeting brilliance is still brilliance."
THE DIVORCE(2024), the film that clinched the Golden Goblet Awards for Best Film, sees its lead actress, Omarova Amira, garnering universal acclaim for her exquisite performance. She portrays a woman fighting vigorously for control over her destiny, demonstrating resilience and tenacity. Amira faced significant challenges in portraying such a bold character, "Although women have achieved liberation and freedom, the conditions of the time did not support her in winning true freedom."
Upon winning the Best Actress of Golden Goblet Awards, Amira could not hide her excitement. "Being able to compete for the Golden Goblet Awards at the Shanghai International Film Festival is an immense honor for any actor, and winning this award is a dream come true. I am especially thrilled to receive this honor and grateful to the director and my fellow actors. Together, we created this masterpiece."
In Gu Changwei's film THE HEDGEHOG (2024), the theme of being "stuck" plays a central role—echoing a recurring motif in his works. Ge You and Karry Wang portray an older man and a young boy, respectively, each trapped by life and familial bonds yet finding warmth in each other's company.
This sentiment resonates with co-screenwriter Zheng Zhi, who describes his accidental entry into the film industry as a novelist. Previously, working alone often fostered a somewhat prideful disposition in him, a trait he describes as being solitary. However, upon entering the film industry, he immediately encountered talented creators and mentors, discovering the joy of collaboration. "I hope everyone holds onto that little bit of pride in their hearts, for it is the starting point for earning respect," Zheng advises young creators.
Alongside Zheng Zhi, Guo Fangfang and Gu Changwei also received the Best Screenplay award for THE HEDGEHOG. Gu Changwei humbly remarks, "Both Fangfang and I were merely assisting Zheng Zhi. This work stemmed from Zheng's novella of less than 20,000 words; adapting it was a challenge, but thanks to our team's efforts, we successfully transformed it into a film." He adds, "I am particularly happy for Zheng Zhi, a man of genuine emotion. This novella is based on his own life experiences and those of his relatives. Zheng Zhi, you’re truly awesome!"
A MAN AND A WOMAN (2024) focuses on the complex lives of a man and a woman, embedding themes of kinship and friendship within the vibrant backdrop of Hong Kong, transcending traditional love story tropes. The cinematographer skillfully captures the characters' repression and solitude with minimalistic techniques, making a profound impact on the jury with its unique cinematographic skills that highlight Hong Kong's architecture and the nuanced expressions of its people.
Producer Liang Jing revealed that nearly all behind-the-scenes staff were from Hong Kong. Despite cultural differences and numerous challenges, the cinematography team's dedication was well-merited. "Without the perseverance of the photography team, this film would have been difficult to complete," said director Guan Hu, who is known for his daring cinematic ventures. He added, "The director wanted to show the encounter between a man and a woman objectively, the meeting of strangers, allowing for diverse interpretations. Thus, he used different spaces to set up their unexpected meetings." Liang sees the film as highly experimental, noting, "The director hopes that each film he creates can explore a different genre."
THE WASTEMAN (2024) marks the finale of Iranian director Ahmad Bahrami's "waste trilogy", with the first installment, THE WASTELAND (2020), winning the Orizzonti Best Film Award at the 77th Venice Film Festival. THE WASTEMAN (2024) continues the use of long takes and black-and-white photography. Bahrami's favored lead, Ali Bagheri, maximizes the dissolution of narrative control and meaning through a monologue performance without dialogue. The film artistically probes human resilience in the face of disaster, highlighting a profound cinematic sensibility.
Director Ahmad Bahrami explained, "The absence of dialogue and color necessitates the use of various artistic forms to convey the story, which might be precisely what touched everyone." Despite its black-and-white format, the film's meticulous cinematography, innovative production design, and bold acting leave Bahrami unworried about audience reception. "As the narrative unfolds, the audience will understand the plot and find enjoyment in viewing," he stated.
The documentary MS. HU'S GARDEN (2024) captures the life of Ms. Hu, a marginal figure in a rapidly evolving society. Producer Ruby Chen was moved by her story upon first encountering the footage, "Her life is fraught with financial struggles and debt, yet she continuously aids many around her, akin to atonement."
Director Pan Zhiqi spent nearly a decade tracking this issue that concerned him, authentically reflecting the spiritual and resilient life of a mother and son. He aimed to document this spirit and share it with society. "In following Ms. Hu's story, we also explore each of our inner narratives. Everyone needs such a spiritual haven. I believe when viewers see this film, they will gain insights or feel touched by life," he said.
Director Naoko Yamada, known for her popular animations such as K-ON! (2011) and A SILENT VOICE (2016), won a Golden Goblet Award with her latest film THE COLORS WITHIN. Yamada, who excels in depicting adolescence, humorously described her reaction to winning as a mix of many colors that ultimately formed a beam of white light—representing surprise and astonishment. "My mind is just blank now," she said.
The film features a distinctively eclectic soundtrack. "I am happiest when I can express my preferences; I choose the music based on what I personally enjoy. It's very important and precious to me!" Japan has a rich history of animation and world-renowned animators, and Yamada's greatest admiration is for Hayao Miyazaki. "The first animated film I saw since I was born was Miyazaki's NAUSICAÄ OF THE VALLEY OF THE WIND, which has had the greatest impact on me."
THE EVENT HORIZON (2024) narrates a young girl's perspective on her parents' repeated emotional struggles. This story, drawn from director Shira Geffen's own childhood, remains difficult to categorize: "Is it a fairy tale? A poem? I don't know, maybe it's more like a biography?"
Geffen spent a year making this short film and brought it to Shanghai, where she was moved by an encounter with a Shanghai girl who had just seen the movie. "She told me she could empathize because her parents were also divorced. Despite the age gap, coming from different countries, ethnicities, and regions, we were connected through the film. That's probably what the essence of cinema is."
Young director Guo Xiaoruo, a graduate of the Animation and Game School of China Academy of Art presented his 2023 graduation project, KILL THE HORSE(2023), mentored by Liu Jian, the director of ART COLLEGE 1994 (2023). The film is youthful and vibrant with potential. Guo explained, "The film is about someone searching for a horse that is about to be killed. In this process, he rediscovers things he had lost, including his relationship with the horse."
Guo Xiaoruo conducted extensive experiments in the short film, especially with the use of sound and music. "I wanted to complete the entire process by myself, including the final mix, to keep the overall style less 'animated' and support the main storyline, which might also be a direction for my experiments."
Guo Xiaoruo previously participated in the animation production of ART COLLEGE 1994 (2023) and accompanied director Liu Jian to the 73rd Berlin Film Festival. Reflecting on this, Guo said, "The environment at China Academy of Art is incredibly open for creation. I'm fortunate to have such a great mentor. If I have the opportunity, I would like to create feature films like Mr. Liu."