I will work harder to shoot more excellent works...Thank you!"

Wu Xiaozu bowed shamefully with the trophy and left without any delay.

Next, "The Birth of a Prefix" won the technical award for Best Cinematography. Huang Yuetai did not come, and Liang Gaohui accepted the award in his place.

Liang Gaohui came to the film festival this time to increase his exposure. This is also part of Wu Xiaozu's "unblocking" plan.

Keep a low profile and do things in a high profile. This is very beneficial to Liang Gaohui's unblocking.

As heavyweight awards such as Best Actor and Best Actress were awarded one by one, it was finally the turn of the most important award.

"The winner of the best film at the 31st Asia Pacific Film Festival is——"

""Life and death are destiny, wealth is in heaven", congratulations!!"

As soon as the award-giving guest's voice fell, there was a burst of applause from the audience.

"Ahhhhh!!"

As soon as Jiang Zhiqiang and Liang Gaohui shouted, Wu Xiaozu turned around and hugged Li Dianxin and Jiang Jiahua again.

This time to receive the award, Wu Xiaozu still did not choose to go on stage. Instead, he gave the stage to Jiang Zhiqiang and Liang Gaohui.

Jiang Zhiqiang is the producer and distributor of "The Birth of a Prefix". Especially when it comes to film distribution, allowing him to be in the limelight will be more conducive to the distribution of the film in other markets.

Will Leung Gai Fai appear on stage again?

Both he and Jiang Jiahua are known as producers, and at least the later stages of the film cannot be separated from their support.

"The Birth of a Prefix" received six nominations and won three awards: Best Picture, Best Director and Best Cinematography.

They won the 31st Asia Pacific Film Festival!

So?

What about Hong Kong Island?

…

"Director Wu, congratulations!"

"Congratulations! "The Birth of a Prefix" is well-deserved!"

As soon as the film festival ended, Jiang Zhiqiang, Wu Xiaozu and Liang Gaohui were surrounded by filmmakers from all over the country. The Korean filmmaker approached the stage, dragged Wu Xiaozu and started chatting.

Oh Hyo-jo was not impressed by the filmmakers who were active in Goryeo in the 1980s. What impressed him deeply was the group of directors born in the 1960s.

Kim Ki-duk, Park Chan-wook, Bong Joon-ho and other directors. In later generations, Korean films took a path of imitating Hong Kong films, and they went very well. At this time, Korean films were comparable to Chinese football in later generations.

It’s quite big, but its strength is... bulging!!

The Asia-Pacific Film Festival they held is actually a bit unworthy of its name.

However, Korean filmmakers have never given up. This year, their country's most authoritative film award, the Grand Bell Awards, is officially organized by the Filmmakers Association and the Film Promotion Corporation.

The Filmmakers Association and the Film Promotion Corporation are private film industry organizations voluntarily organized by Korean filmmakers. Every year they seek investment to support emerging directors.

Later Kim Ki-duk, Park Chan-wook, and Kwak Jae-yong, who greets Oh Hyo-jo today, these are the backbones of Korean films in later generations. They all received investment and help from the Filmmakers Association and the Film Promotion Corporation in the early days.

This kind of support for newcomers can be said to have played a decisive role in the development of local films.

In the 1990s, these two major organizations forced the Korean government to complete the establishment of "cultural barriers." Since then, Hong Kong movies have lost an important ticket base.

In the 1980s and 1990s, Hong Kong films could be seen everywhere in the top 50 box office lists. It can be said that they made crazy money!

However, in just a few years, the number of viewers of Hong Kong films in Korea continued to decline. In later generations, if the box office audience ranked among the top 100, it would be regarded as a very good performance.

In later generations, old faces such as Liu Dehua, Zhou Runfa, Liang Chaowei and Cheng Long are still among the top 100 in Korea every year.

How sad?

My hero is his enemy.

Hong Kong films have some shortcomings, but it cannot be denied that they have indeed played a decisive role in the spread of Chinese culture. Let’s not talk about culture, just talk about interests, and Goryeo is also a very suitable ticket bank.

"The current development of Hong Kong films is worth learning from Bangzi Smecta."

Shin Sang-ok, a Korean filmmaker from the Film Support Commune, smiled at Oh Hyo-jo and said, "I am envious when I see you, Director Oh, being able to shoot such wonderful things at such a young age. I wonder what advice you have for us young filmmakers."

?I think as a young director, your experience will be more helpful to them."

A group of young filmmakers such as Guo Zaiyong looked at Wu Xiaozu curiously. In any case, the shock that "The Birth of a Prefix" brought to them was enough to make them face up to the filmmaker who was younger than them.

"I think the development of Goryeo movies now needs to have its own artistic pursuits. If you look at the movies that are truly engraved in the history of movies, each one has its own unique artistic taste. As young people, we should not be eager for quick success and quick gains to pursue exaggerated surfaces.

, only by adhering to one's own ideas can we promote the country's film industry..."

Wu Xiaozu solemnly instilled the concept of "art first" to the filmmakers from several countries in front of him. He could only cheat as many as he could.

France takes the art-first route, but how much do you think it contributes to the spread of culture?

These people regard Wu Xiaozu as a fan of art films, while Wu Xiaozu regards all the people in front of him as competitors.
Chapter completed!