Since he emerged on the film scene more than 20 years ago, Zhang Yuan has established himself as one of the leading figures of China’s sixth-generation directors — independent filmmakers exploring realistic themes.
Beginning with 1990’s “Mama,” his feature debut and China’s first independent film since 1949, Mr. Zhang has courted controversy with taboo and sensitive subjects. “Mama,” an award-winning documentary-style feature about a woman and her mentally handicapped son, was banned in mainland China at that time.
After critically acclaimed films such as “Beijing Bastards” (1992) — about China’s rock generation — and “East Palace, West Palace” (1996), Mr. Zhang ran afoul of authorities. Officials confiscated his passport in 1997 as Mr. Zhang prepared to travel to the Cannes Film Festival for the screening of “East Palace, West Palace” — about the interrogation of a gay man after he is picked up during a police raid in a Beijing park — and he was banned for a period in the 1990s.
While the 50-year-old director, a 1989 graduate of the Beijing Film Academy, continues to be a fixture at major international film festivals, in recent years he has explored new creative avenues. At a time when many independent directors are struggling to release their films on the country’s big screens, Mr. Zhang has devoted his attention to another venue, with short, low-budget films designed for online consumption on China’s video sites such as Youku.com and Sohu.com.
Mr. Zhang began making short films in 2012 as a way to examine social issues in China, including left-behind children — children who remain in their hometowns while their migrant-worker parents live in faraway cities — and the country’s health-care system. Two of his short films, “A Bed Affair” and “Romantic Encounter,” ranked among the most-watched independent Chinese short films (sometimes referred to as microfilms) in the past two years.
His latest short film, “I Love You, Boss,” a gay-themed story about a driver and his employer — without any spoken dialogue — had its premiere in March at the Hong Kong International Film Festival and is available online at Youku.
Mr. Zhang recently spoke with the Journal at his workshop in Beijing to talk about dancing in shackles, his shift to short works and how the Internet could change China’s film industry. Edited excerpts:
You explored gay issues in “East Palace, West Palace.” What was different this time?
At that time, it was quite difficult to make a film of that kind. But today if someone thinks that homosexuality is a problem, they are too stubborn or crazy. “I Love You, Boss” is more like a silent film. We rely on motion and facial expression, while last time we relied on the actors’ dialogue. It reverts to the primary state of film: without voice — just with natural sound.
How did “East Palace, West Palace” develop?
It was mainly inspired by a story. At that time, I heard about organizations and police stations that were together doing surveys [on homosexuality] by interrogating people. I thought it was weird to do that, and didn’t make sense. The oddity inspired me to talk about the topic. It was not only about homosexuality, but also about the relation between sex and power, privacy and power.
Why are you moving into short films?
I want more people to watch my films. There are hundreds of millions of online users in China. Many of them are watching videos every day. I think now artists have many ways to deliver their thoughts to audiences. It would be a pity to ignore the power of the Internet today.
Are short films made for online distribution a good way to make films that you can’t get on a big screen?
Yes, of course. Some kinds of films are quite risky concerning censorship, and it will be much easier to talk about these kind of stories by doing short online films. I feel I have more freedom when doing short films.
Regulators recently have stepped up control over online content. Does that concern you?
It is fine for the censors to filter out those videos on antihuman, antigovernment or antiparty topics. But so far I have not seen any video of that kind online. They are pretty good.
Some academics and industry people say that a large number of microfilms are quasi-pornographic.
What is wrong with quasi-pornography? I think what we need is a rating system — in cinemas and video sites alike. Why can’t adults watch what they want to watch and kids watch what they should watch? It’s sad that the local market still has no rating system. Why can’t we solve this simple problem?
How have you been affected by having your films banned?
It is very complicated mentally. We dance with shackles here but we love this land so much. We love the people here. Sometimes we love this land with tears because this is such a great land.
Did you make creative changes after being banned?
No, I did not. I think creators are smart.
If you had to do it all over again, would you still choose to make those films?
Why not? Society is making progress. When I made “East Palace, West Palace” and “Beijing Bastards,” people thought that they were horrible: Homosexuality was horrible, rock ’n’ roll was horrible. Now you see gay couples holding hands in the streets and people not only accept them but are also making friends with them. I think these changes are somewhat the result of art. Without these artworks, how could people gradually realize these things are normal?
How do you choose topics for your films?
I think artists in China have somewhat lost the ability to express themselves and are incapable of seeing what is happening in society. What is actually happening in this society is really beyond your imagination. We artists feel weak. Even if you shoot those scenes, it is meaningless.
Meaningless because they can’t be released?
Because you have to revise it into something different from what you originally wanted it to be.
Do you think video sites are a good platform for the Chinese film industry?
Today, no director should say their talent is oppressed by others. If you are capable, you don’t need to rely on anyone — just put your work online. It is a good time for the film industry and young directors now.