Chapter 396: Small Circle

Three days before the opening of the 58th Berlin International Film Festival, a small, exclusive gathering for directors and producers was organized in Berlin.

Not every director and producer currently in Berlin was qualified to attend.

This small circle gathering was very intimate, with fewer than twenty people.

The directors in attendance had all, at a minimum, won Best Director at one of the three major European film festivals.

As for the few producers present, they had either produced a film that won the top prize at one of the three major European festivals, or they were veteran producers who had produced several award-winning films at those festivals.

Those with great influence—such as producers who were extremely wealthy or capable of securing massive funding—as well as directors who had only won Oscars but never a prize from the three major European festivals...

I’m sorry, but these were the very people despised by this small circle and were certainly not qualified to be invited.

As for Cao Yang, let’s put it this way: as long as Cao Yang was in Europe, no matter where a small circle or artsy gathering was held, they would always find a way to invite him.

Just kidding—Cao Yang held two Venice Golden Lions, had produced a film that won a Venice Golden Lion, and had won a Cannes Palme d'Or; he also held Best Director awards from Cannes and Venice, and a Jury Grand Prix from Berlin.

Such achievements meant that even in the eyes of those extremely old, white, male European directors, they would subconsciously overlook Cao Yang’s skin color.

In fact, many directors in the European art scene believed that, given Cao Yang’s age advantage, he had a high probability of becoming a Grand Slam director; it was just a matter of time, opportunity, or the power of his home country behind him.

Even if Cao Yang never managed to win the final Berlin Golden Bear, as long as he remained in this circle, by the time he turned fifty, the Berlin International Film Festival would surely be impatient to present him with a Lifetime Achievement Award.

A Lifetime Achievement Award is also a Golden Bear.

After receiving that Golden Bear, even if people criticized him for not being a "true" Grand Slam winner, having a Golden Bear, a Golden Lion, and a Palme d'Or in his hands would certainly count as a Grand Slam to some degree.

Although it would be a weakened version of a Grand Slam.

In fact, many of the European geezers in this circle held this exact thought: if we can’t stop you from getting a Grand Slam, then we’ll give you a watered-down version—a Grand Slam that people can criticize.

As for whether Cao Yang, who was currently thriving in Hollywood—a place generally despised by their little circle—would be ostracized by these people because of it, one could only say they were overthinking it.

The directors in this small circle certainly despised Hollywood, both in word and deed, but if given the chance to develop in Hollywood, no one would say no—earning money from those American upstarts was doing them a favor, wasn't it?

It wasn't the first or second time Cao Yang had attended such a clearly "high-brow" gathering; every year, as long as he attended one of the three major European film festivals, he would make sure to attend one small circle gathering before returning home.

Don't underestimate this small circle; let's put it this way: the jury presidents invited by the three major European film festivals each year were, in all likelihood, people from this circle.

For instance, this year’s Berlin International Film Festival jury president, Costa-Gavras, was a veteran figure within this small circle.

Costa-Gavras had very senior credentials, and he was also very old, already in his seventies.

However, his career record remained quite illustrious.

He had won the Cannes Palme d'Or at the 35th Cannes Film Festival in 1982, and later won the Berlin Golden Bear at the 40th Berlin International Film Festival in 1990.

Costa-Gavras was just one Venice Golden Lion away from a complete set.

The surname "Gavras" gave one the immediate impression of a Russian name.

That’s right; although Costa-Gavras was French, his father was a Russian immigrant, and he possessed the typical temperament of a Russian.

Early in his career, he had also actively participated in the Venice Film Festival.

However, after two of his works were eliminated and didn't even make it into the main competition, the hot-headed young Costa-Gavras chose to directly blast the Venice Film Festival for its shady dealings, lack of vision, and for being trash...

He even declared that he would never bring his work to the Venice Film Festival again in his life.

He kept his word.

And he also lost his chance at a Grand Slam.

"Costa, long time no see."

Cao Yang held his wine glass, walked over to Costa, and gestured with the glass to acknowledge him.

Costa-Gavras had been sitting with his legs crossed, but upon looking up and seeing it was Cao Yang, he stood up from the sofa, picked up the glass next to him to clink it with Cao Yang’s, took a sip, and gestured for Cao Yang to sit.

"My friend, sit and talk."

A few directors and producers standing or sitting nearby smiled and nodded in their direction, then very consciously moved further away.

"I’ve seen your *Manchester by the Sea*; it is an exceptionally outstanding work. Your grasp of human nature is very precise, and there are many interesting cinematic languages."

Having said that, he smiled at Cao Yang and added: "But to be honest, I didn't like it very much. It was too depressing!"

He then spread his hands and said with a self-deprecating tone: "You know, at my age, I can't watch things that are too depressing. It’s too easy to be affected by the emotions; who knows, if my mood fluctuates too much, I might not see tomorrow’s sun."

He then shook his head and said: "At my age, I’ve actually become more in awe of death and more afraid of dying, so I prefer to hang around with young, beautiful, and energetic actresses, even if I can't do anything, haha..."

Cao Yang smiled, and suddenly a line and expression came to mind that felt particularly appropriate here, so he mimicked the tone and expression of that host and said: "Really? I don't believe you."

Costa-Gavras was stunned for a moment, then burst into loud laughter again.

He felt Cao Yang’s reply was brilliant—not believing that he didn't like his film, and not believing that he couldn't do anything with young, beautiful actresses; it was a double entendre. He was truly a world-renowned great director.

"Cao, congratulations. You have once again proven to the world that you are the director best at coaching actors in the entire world. Even if the other party is a kung fu superstar who has left the world with a stereotypical impression, you can still turn him into the most artistic actor."

Costa-Gavras picked up his glass from the side and took the initiative to clink it with Cao Yang’s. This wasn't just polite talk, but a sign of respect for Cao Yang’s ability to coach actors.

"Thank you."

Cao Yang took a sip, and without engaging in small talk with Costa-Gavras, asked directly: "Does Chairman Dieter have any thoughts on this year's festival?"

Although when Cao Yang first arrived in Berlin, festival chairman Dieter Kosslick had personally picked him up at the airport, and the two had chatted afterward, both had tacitly avoided talking about the awards.

Some things still required superficial effort.

Besides, if such things were discussed openly, it would easily make both of them awkward; it was better not to mention them at all.

"Returning to the original intent of the Berlin International Film Festival: focusing on films with prominent political and social attributes, and emphasizing the critical nature and social concern of the films."

Costa-Gavras replied.

"Political criticism of reality?"

Cao Yang frowned; this theme didn't fit *Manchester by the Sea* at all.

As everyone knew, the Cannes Film Festival valued both art and commerce, but the so-called "valuing commerce" didn't mean they prioritized commercial films; it meant that the Cannes Film Festival was the best of the three major European festivals at marketing, i.e., commercial promotion.

The Venice Film Festival focused on artistry and innovative expression, which was why they dared to award Cao Yang’s *Nine-Tailed Fox* Best Director at the time, calling the film an experimental work.

With the endorsement of the Venice Film Festival, no one questioned the experimental and artistic nature of *Nine-Tailed Fox*; at most, they would just add a word that the exploration of human nature didn't go deep enough.