Filmmakers as children
1: Carl Theodor Dreyer, Nuri Bilge Ceylan, Spike Lee
2: David Cronenberg, Kinuyo Tanaka, Sergei Eisenstein
3: Glauber Rocha, Věra Chytilová, Krzysztof Kieślowski
4: Shuji Terayama, Guru Dutt, Buster Keaton
5: Mohsen Makhmalbaf, Orson Welles, Jia Zhangke
6: Apichatpong Weerasethakul, Pier Paolo Pasolini, Agnès Varda
7: Sergei Parajanov, Larisa Shepitko, Ritwik Ghatak

"I graduated from the Beijing Film Academy in the ’90s, and I did study a lot of wuxia pictures. Since I graduated, I’ve been making movies that have nothing to with wuxia pictures. But I do want to experiment with different genres, I feel that they speak to the social complexities that are mounting more and more in China’s contemporary realities. When I was in university, I was writing about how all the wuxia films I had seen were indeed political allegories. They portray individuals suffering the pressures and injustices of society, and that brings about a tragic destiny where they have to resort to violence. I see this in direct connection to the state of things now in contemporary China, the social injustices felt by ordinary people who have no means of expressing their state, who must resort to violence to treat violence. It’s a tragic situation that things have not really changed for the destiny of ordinary people. I wanted to open up this discussion.” [x]

"I think that within the wuxia form, the characters are all imbued with a mysticism. They’re warriors that can fly through bamboo forests and they have special powers. In A Touch of Sin the characters are ordinary people. They don’t necessarily have kung fu skills. When they encounter these acts of violence and begin using their own violence to counteract what was inflicted upon them, they go through a transformation and become like the mystical warriors of the wuxia films. So I’ve treated every instance of violence in the film as though it were a mystical event. Because they’re so surreal and out of the ordinary. Perhaps most of us have never conceived a degree of violence in our quotidian lives. And oftentimes we just learn about the final result of these violent acts through news, but we can’t imagine the process that leads to this result, so it’s all imaginary.” [x]

Jia Zhang-ke on the influence of the wuxia film on A Touch of Sin.

"Another reason I decided to make Xiao Wu is that in 1997 I was getting ready to graduate from the Beijing Film Academy and after four years of watching Chinese films, I still hadn’t seen a single one that had anything to do with the Chinese reality that I knew. After the Fifth Generation’s initial success, their artistic works started to undergo a lot of changes. One of these big changes came with Chen Kaige, who once said, ‘I increasingly feel that film should be used as a vehicle to describe legend.’ I, however, could not disagree more. Sure film can describe legend, but where is it written that film can’t depict other things as well? Unfortunately, most of the Fifth Generation directors all followed this trajectory… But there was a very clear disconnect between these films and the current Chinese reality that we are living in. There is something about this phenomenon that left me feeling very unsatisfied, and it was partially out of this frustration that I decided to make films. I told my collaborators at the time that I wanted to express the here and now, and that has been the aim of our films ever since.” — Jia Zhangke (2002)

Still Life — dir. Jia Zhangke


Palme d’OrBlue Is the Warmest Colour — dir. Abdellatif Kechiche
Grand PrixInside Llewyn Davis — dir. The Coen Brothers 
Best DirectorAmat Escalante — Heli
Jury PrizeLike Father, Like Son — dir. Hirokazu Kore-eda
Best ScreenplayJia Zhang-ke — A Touch of Sin
Best ActressBérénice Bejo — Le Passé (dir. Asghar Farhadi)
Best ActorBruce Dern — Nebraska (dir. Alexander Payne)
Caméra d’OrIlo Ilo — dir. Anthony Chen
Short Film Palme d’OrSafe — dir. Moon Byoung-gon
Prize of Un Certain RegardThe Missing Picture — dir. Rithy Panh
UCR Jury PrizeOmar — dir. Hany Abu-Assad
UCR Directing PrizeAlain Guiraudie — Stranger by the Lake
A Certain Talent PrizeFor the ensemble cast of La jaula de oro (dir. Diego Quemada-Diez)
Avenir PrizeFruitvale Station — dir. Ryan Coogler

Palme d’Or
Blue Is the Warmest Colour — dir. Abdellatif Kechiche

Grand Prix
Inside Llewyn Davis — dir. The Coen Brothers

Best Director
Amat Escalante — Heli

Jury Prize
Like Father, Like Son — dir. Hirokazu Kore-eda

Best Screenplay
Jia Zhang-ke — A Touch of Sin

Best Actress
Bérénice Bejo — Le Passé (dir. Asghar Farhadi)

Best Actor
Bruce Dern — Nebraska (dir. Alexander Payne)

Caméra d’Or
Ilo Ilo — dir. Anthony Chen

Short Film Palme d’Or
Safe — dir. Moon Byoung-gon

Prize of Un Certain Regard
The Missing Picture — dir. Rithy Panh

UCR Jury Prize
Omar — dir. Hany Abu-Assad

UCR Directing Prize
Alain Guiraudie — Stranger by the Lake

A Certain Talent Prize
For the ensemble cast of La jaula de oro (dir. Diego Quemada-Diez)

Avenir Prize
Fruitvale Station — dir. Ryan Coogler