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Director Wen Muye speaks on latest anti-war movie_我的网站

楚乔传

A | 在韩国历史上，有很多总统无一幸免都遭受下台或者被迫退休后的人生陨落，但是文在寅成为韩国总统中的第一个也是唯一一个能够全身而退的人。

B | 在卸任之后，回归到乡村，完全过上了一种无政治压力的田园生活，那么这样做不仅能够让自己摆脱权力带来的任何负担，同时也能展示出自己是多么的远离权力。视频加载中...但是这样的选择并不简单，因为韩国的“青瓦台魔咒”已经陪伴韩国几十年。

C | 文在寅又是如何打破这个魔咒的呢?即使现在卸任，他的退休金也高达1400万韩元，一月1700万韩元，这对于退休后的老人来说着实不小，但是对于他来说，仅仅是退休金应该绰绰有余。

A still from the movie Once Upon a Time in the Middle East starring Shen Teng Photo: ICYears after tackling social issues in the breakout hit film Dying to Survive, Chinese director Wen Muye returns with Once Upon a Time in the Middle East. The film opened nationwide in China on Tuesday, and, including advanced screenings, crossed 200 million yuan ($29.6 million) at the box office on its first day.
It centers on an ordinary Chinese chef caught in the crossfire of war. Shen Teng stars as Xu Fu, a cook who travels to the fictional Middle Eastern capital of Bahata to repay family debts. There he joins forces with restaurant manager Ma Junsheng (actor Jiang Qiming) to run a Chinese eatery. When conflict erupts, the self-preserving every-man endures personal losses and gradually comes to protect local children.
Produced by Ning Hao, the film continues Wen's signature focus on "little people," this time placing them far beyond China's borders.
In an interview with the Global Times, Wen talked about the project's connection to news reports of Chinese migrants who open restaurants overseas and forge quiet connections through food.
"Many Chinese people go abroad simply to make a living," he told the Global Times. "They open restaurants, use food to break down regional barriers, and form deep bonds with locals."
The production team conducted extensive research and location scouting in the Middle East to capture everyday details. Elements such as free-running single-humped camels required overseas shoots; the resulting images of open space after confinement, Wen noted, carry a simple sense of hope.
Food functions as the film's central motif.
"Food more often stands for happiness and peace," Wen explained. "Even in a war-torn environment, people still cannot do without three meals a day. That sounds basic, but after all the big things in life, what people care about most are the simplest things - eating a proper meal and taking care of family."
A specialized food unit developed the dishes, and Shen trained extensively so that most of the wok-tossing sequences were performed by the actor himself, Wen said.
The film deliberately intercuts kitchen routines with combat sequences.
"Three meals a day represent our longing for peaceful life, while war is the extreme act that destroys peaceful life on a large scale," Wen said. "When they collide, each becomes clearer: Food feels more ordered and full of happiness; war feels more chaotic and dark."
He hopes the juxtaposition helps audiences recognize how hard-won ordinary peace really is.
Xu Fu's decision to shelter orphans never relies on lofty rhetoric, only a meal and a roof. Wen described this approach as rooted in a human-centered outlook rather than classic Western hero narratives.
"We place more weight on humanism and the value of a person's existence. Our culture is about living well, studying well, eating well, and looking after children. No matter how large the events, three meals a day remain unavoidable. Food itself has warmth and can give people real strength when they are in a difficult situation," Wen said.
The director noted that he wants viewers to leave with the plainest conviction: live properly, eat properly, and cherish the peace that exists in the present.
On balancing personal expression with commercial reach, Wen kept his principle simple: "Make the film well and tell the story well. I try to put what I want to express into foreshadowing and details without hurting the viewing experience. If audiences notice those details, I will be glad. If they do not, it does not affect the normal narrative."
From Dying to Survive and Miracle: Stupid Kid to the new film, Wen's view of human complexity has remained consistent. "People have many different sides. They face different circumstances and make different choices."
The through-line, he added, is the same plain belief: "Being able to enjoy a proper meal is the greatest happiness."
Early audience response has been overwhelmingly positive. Advanced screenings delivered scores of 9.7-9.8 on major Chinese platforms including ticketing platform Maoyan.
Many entered expecting a light Shen Teng comedy and left in tears, describing the experience as "laughing then crying." Shen's restrained performance has drawn particular praise, with some calling it the strongest of his career. Jiang's supporting work has also been widely noted.
Moviegoers have frequently highlighted the film's refusal to deliver speeches. Its focus on daily meals and small acts of care lands more powerfully than any slogan.
On the depiction of the conflict, audiences observe that the movie offers a perspective that "flips the Hollywood script" by casting the US as the invader, while refusing to portray US soldiers as pure villains. Instead they appear as ordinary young men: loose in discipline and marked by the alienation of war.
Both Chinese and overseas viewers have singled out this measured approach as part of the film's distinctive Chinese viewpoint: It sidesteps both Western hero narratives and simple demonization. Some international comments note that by staying with ordinary lives rather than choosing geopolitical sides, the story offers a different lens on conflict.
One widely circulated comment from a popular Chinese self-media account on WeChat captured the film's ambition: "You can think of this film as a blend of Casablanca, Schindler's List, and The Shawshank Redemption, yet at its core lies the same grounded human compassion found in Dying to Survive. This is a highly successful attempt by Chinese filmmakers to surpass Hollywood. It is the first Chinese film that truly possesses a global vision and a professional sense of international storytelling. It is also a gift of warmth and goodwill from the Chinese people to a world still torn by war and cruelty."
。那么，这笔钱足够他过上舒舒服服的生活，但是文在寅没有这么做，他选择将自己的书店开设到离青瓦台比较近的地方。这样的行为非常鲜明，既可以和民众亲密接触，也可以方便别人就找上门来，询问总统大事，还可以加强你自己看似淡泊名利的品格。文在寅与民众良好的关系。

D | 文在寅可以说与民众之间并没有什么较大的距离感，但是本文之所以有如此好的成绩，可以说是与他的为民政策息息相关的。必须承认的是，在担任总统期间能够做出如此成就的总统并不很多，而且不仅仅是因为他有这样的能力，还因为有这样强大的推力。文在寅虽然没有“碾压性的政策”来进行民众舆论上的引导，但是通过多个方面，不断进行一些小的惠民政策，这些政策逐渐累积上起来，就制造了巨大的推力，最终能够让文在寅获得阶段性的巨大成功。在文在寅入主青瓦台之前，最早是从其他党派中脱离出来，成立新政府，并且文在寅本人就是一个大好人，尤其是在进行对北关系中的一些问题处理时，更显得如此。不仅不会对北方进行强硬的打击，同时也不会用谴责的口吻进行其他方面问题上的影射。正因为这样的一款大好人形象，在北方获得了很好的评价，这也促进了随后两个国家之间关系更加紧密。就拿这件事来说，不会对他造成威胁，但是也有其他方面能够威胁到他。他在作出了一系列惠民政策之后，得到了超高的民众支持度，即使有一些反对他的人，也逐渐被他所感动，变成支持队伍中的一员。这一系列惠民政策不仅包括大的方面，还有一些很小的细节方面都涉及到了。在他的规划中，对于青年人的资助，其规定是满足毕业生的租房需求，在其政府执政期间，推出了一系列为青年人群提供住房租金补贴措施，并且还为生育女性提供加强产假时间期限和产假工资比例等政策。这些一系列接一系列的小举措，可以说如果换成其他人来执行，这些政策都会慢慢改进，但是文在寅并没有，他能够使这些处于民主政策中来，一步一步积累起来，让文在寅得到超高支持度。特别是在青瓦台那个魔咒笼罩下时，他还能够将这些小举措不断进行累积，而这样的成果就已经足以赚得他的连任。“青瓦台魔咒”的破除。文在寅能够成为第一人，说明他的确有这个能力，在韩国几十年历史中，虽然民众都受到不同程度上的折磨，但是当时他们就需要一个能够真正为他们考虑的人。就是他将这些方面重点突出，直接落实到生活的每一个细节中，这样民众的使用才会更加方便，这对他们来说就是最好的。随着时间的推移，他们对文在寅也是越来越信任，这样一步一步，他们已经不能接受其他人的施政了。所以当时有传言说，韩国要重新选举一次，他都没有这么做，因为他的支持度已经足够连任。并且从这个过程来看，其实它已经打破了韩国“青瓦台”魔咒，但是后来还是被人搶走。后来他被人抢去之后，就开始讨论他的一些动作，以及和民众之间的一切交往。

E | 这时，就有人提出:“其实很多人都是喜欢跟他照相的，他和别人照相的时候非常兴高采烈，但是自己不愿意却又能合理避开，不让别人瞎拍。这些行为都是很自私自利的表现，只不过被他的粉丝进行神化罢了。”但是也有另外一方认为:“如果这样的话，那周围加上保镖都是些什么行为。”于是就有这样一种说法称:“你的行为是否足够透明，将直接影响你的信任度。”实际上无论是哪一派意见，都无法改变一个东西，那就是文在寅已经积累了超高的民众支持度，即使是“青瓦台魔咒”，也为自己暂时解锁，而当时他失去了再次当选机会，本身就是等待着接下来的行动。所以，即使他的行动存在一定的讨好行为，但我们忽略不计的话，也是均可行通的，即使不是100%透明，也绝对靠谱吗。文所在行通。因为如果想当选，就要照顾到每一个人的感受，毕竟要打破“青瓦台魔咒”，有了这么高的支持要求，那么就更希望你能做到尽善尽美。甚至对于一些小一区的地方，也要将它规划成社区医院，所以，当时你就要完美到无可挑剔，用现在来说，就是零缺陷，那么还可能会有人说这是谦虚吗?不得不说，他们之间的是矛盾，首先是不完整，但还要非黑即白，其次是透明，但透明也有透明的方法，所以要想通，就要理智一定要平衡。但是，不管怎样，他们都无法阻挡文在寅与民众之间建立的巨大环境，这是无可厚非的，也成为他退位后最大的安全卫士。