达知而闻天下，达善而闻己身，今天我们聊聊禁片导演娄烨。
前不久，中国导演娄烨执导与讲述武汉疫情的影片《一部未完成的电影》，获得台湾金马奖最高奖项——最佳剧情片奖，导演娄烨获得最佳导演奖。 此前的2024法国戛纳电影节上，娄烨的这部再现“武汉封城”的新作也入围了特别展映单元；与此同时，这部影片也再次在中国获得被封杀的“殊荣”。 娄烨表示，他本不在意中国国内的市场，看来他从一开始就做好了在国内被封杀的心理准备。他宁可放弃巨大的国内市场，也要将这部良心之作奉献出来，让全球观众了解中共在疫情期间，如何粗暴施政，使人们陷入无奈与悲惨的生活情景。 据报道，在戛纳电影节的现场，影片放映结束后，有人大喊：“娄烨，你是中国最伟大的导演！”一位现场观众说，到后半程，影院各处都传来啜泣，后排的观众说，每个人都在哭自己⋯⋯，“这是我心目中这十年中国最伟大的电影”
一位居住在美国的前中国影评人赵亮说，这是一部自杀性电影，娄烨不可能再在国内发展了，他已经自绝于中国政府了。首先他拍这个疫情，对于中国政府来说是非常敏感的，是绝对不能碰的题材。中国政府现在已经把医院里所有跟疫情有关的档案，都销毁了，就好像这件事没有发生过一样；把封城的所有档案，和当时的所有记录在政府里也好，医院里也好，在基层组织也好，居委会也好——所有档案都销毁，你还拍部电影拿到国际上去放，你不找死吗？ 他坦言非常佩服娄烨的勇气，娄烨的作品从才华来讲可能不是最好的，但是他确实是最有思想，最有叛逆精神的，在当下的第六代导演当中很不错。第五代导演就彻底玩完了，全部下跪，一塌糊涂。很有可能，娄烨看到了那个疫情档案销毁令后，更加觉得责无旁贷，要加紧完成这部“准纪录片”电影。 业内人士爆料说，政府要求，所有资料都不能留，电脑的也不能留，打疫苗记录要删除，核酸检测记录，和整个抗疫过程中，政府一些出洋相的东西，全部要删除销毁 。虽然这个毀令是内部文件，可是从政府不敢公开销毁令本身看，就透着他们的心虚和担心。 政府心虚是因为现实表明，疫情三年多，其一切所为都是那么可笑，打着“为人民生命安全着想”的旗号，肆意妄为：包括严格且频繁的核酸检测和无处不在的核酸要求；套在每个人身上的健康码；不打不让上班上学的强制疫苗注射；为实现清零各种罔顾百姓死活的封控政策。 然而，几乎耗尽医保费用的核酸检测和封控的结果，却是疫情非但没有被防控住，反而一直在此起彼伏。在2022年底，已经无法防控住，且白纸运动兴起的情况下，政府不得不选择全面放开，刹那间，国内超过90%的人员感染，死人遍地，火葬场爆满，政府却宣称抗疫取得了“胜利”。 既然认为抗疫取得了“胜利”，从逻辑上讲，就不应该删除与疫情有关的所有资料，毕竟这是自己“胜利”历史的见证，可现实中却再度给了自己一个响亮耳光，暗中下令将疫情数据全部销毁，这不就是间接承认所谓抗疫“胜利”，其实是“失败”吗？而这大概也是销毁令秘密下达，不在媒体公开的原因。 销毁令背后的诱因是什么？近年疫苗后遗症患者大量出现，甚至死亡，政府害怕被追究责任。疫情期间，政府强迫全国所有民众打疫苗，并一再保证疫苗是安全的，打了疫苗，就可以防止感染，防止重症，相信的结果是，打了几针疫苗的民众，不仅没有防止感染，而且很多人身体出现了其它问题。如肺结节、疱疹、癌症、猝死等，而且越来越多的人相信，这极大程度上与打疫苗有密切关系。 近日，众多疫苗受害者，向全国“两会”递交《呼吁建立“新冠疫苗伤害保障救助机制”倡议书》，和2656份受害者名单，希望政府出台相关政策、重视这些“听话”的不幸群体。可是就像“呼吁申请官员财产公开”一样，本来就不是真正代表人民的“两会”，怎么可能予以理睬呢？相反，全国各地卫生局，官方机构陆续开具“关于接种新冠疫苗后发生异常反应调查诊断申请不予受理”的答复通知书，明确了民众在接种新冠疫苗后，产生包括且不限于白血病、糖尿病、肺结节、心脑血管等疾病均与新冠疫苗接种无关。且民众在接种新冠疫苗的过程中，完全遵循，“知情、同意、自愿”三大基本原则，每个接种者都必须得为自己的接种决定承担责任和后果，与政府和卫生部门无关。对于同类的申请和诉求，未来一律不予受理。 明明是政府强迫或变相强迫的，却一定要说成是自觉自愿的，你不“自觉自愿”，就不能上学上班，这不就是强迫吗？甚至连强迫隔离，都说成是人们的自愿选择，你到哪儿说理去？ 警察是人民警察，法院是人民法院，银行是人民银行，代表是人民代表，它用人民的名义强迫你，而你是人民的一份子，你就是自愿的，他们的逻辑就是这样简单。 如果再联系“关键人物接二连三离奇死亡”的消息，更是对其中的蹊跷充满疑问。大名鼎鼎的防疫领军人物吴尊友死了，享年60岁；北京科兴新冠疫苗之王曹晓斌死了，享年45岁；武汉大学病毒学家吴建国教授突发疾病死了，享年66岁；之前去世的还有新冠疫苗研究专家赵振东，享年53岁；曾兵，享年52岁；刘斌，享年37岁；还有核酸检验研究专家白晓卉，享年42岁。新冠疫苗研究专家接连去世，这是咋回事？大家心知肚明，这其中肯定有很多见不得人的秘密，只有死人才能保守秘密。 回到导演娄烨身上，这次娄烨的《一部未完成的电影》在国内被禁，那是注定的事件，会不会引致他终身被禁拍片？也完全有此可能。此前，他曾因某部电影性爱和政治尺度问题，而不过审；私自参加电影节被禁拍五年，他的电影，几乎拍一部就禁一部。不是被禁，就是在被禁的路上，娄烨也因此收获了大陆“禁片之王”的称号。正所谓：娄烨出品，必属禁品。他的电影除了给影迷存硬盘用，还四处拿奖，可以说，我国地下电影的军功章有他一半！娄烨也有几部侥幸过审的影片在内地上映，很多观众冲着娄烨的名气，纷纷走进影院支持票房，那部名气很响的《浮城谜事》，是娄烨导演的一部犯罪电影，故事的真相扑朔迷离，牵涉到的人物又多，但娄烨抽丝剥茧层层递进，不但把故事讲得精彩，而且探讨了，人性、爱情、欲望和社会等多个主题，引发了观众的深刻思考。娄烨另外一部描写盲人技师生活的《推拿》，也受到观众的欢迎，但是，由于他的电影瞄准的是底层小人物，而不是宏大叙事的所谓主流电影，所以影院给他的排片总是非常少，他的好电影很快就下架了。 可想而知，这样一个不追逐满屏正能量或战狼题材的导演，谁来给他投资呢？所以他注定贫穷，但有风骨的娄烨穷且益坚，当别的艺术家纷纷回避三年疫情时，他把镜头勇敢地对准了这个敏感题材，拍摄了这部“准纪录片”《一部未完成的电影》，这样有思想、有良知的中国电影导演，屈指可数了。（中国的那些第五代导演）大部分都选择妥协、听话，甚至同流合污了，你看看陈凯歌、张艺谋之流，不厌其烦地拍摄所谓抗美援朝的题材，就会明白他们的价值观是如何的丑陋。抗美援朝本来就是中共上了斯大林的老当，做出的错误决定，中共扶持的金家王朝，不但让朝鲜人民过着猪狗不如的日子，而且他们至今对中国也是恩将仇报，事到如今，不但不反思和忏悔当年的错误行为，还在一个劲地唱赞歌。 连人之为人的基本底线都不顾了。我看到过一个口述实录，说的是朝鲜军人这样处置偷渡者的：当着中国边防军人的面，用铁丝穿过偷渡者的锁骨，一个个串连起来，比对待牲口都不如，我们当年用牺牲无数军人的生命，来扶持这样的残暴政权，难道不可耻吗？今天还在正面歌颂所谓的抗美援朝，这不是反人类吗？陈凯歌张艺谋之流，难道不知道这些基本常识吗？他们完全是自甘堕落，有人强迫你拍这样的题材吗？你可以拒绝吗？我想没人强迫吧，你完全可以拒绝吧，你们不但不拒绝，还屁颠屁颠上赶着去拍，就为了有雄厚的资金等着你们，为了金钱，加上拍马的好处，你们连反人类的电影都敢拍，这样的“影品”，比起一身正气的娄烨，他们简直就是狗屎。别看陈凯歌张艺谋之流，在某些国内的电影颁奖典礼上，被捧为座上客，可是在人类文明史的长河里，他们的软骨症，一定会和文革时期，那些哈巴狗的命运一样，最终被人们所鄙视和唾弃。 历史是公正的，它不会因为他们曾经拍过几部好电影，而不再记录他们的劣迹。当娄烨这样的导演，在为中国人民的命运而呼号，却不得不面临终身禁拍时，陈凯歌张艺谋之流，却用反人类的电影在庆祝他们的盛宴，比较之下，娄烨的身影就显得异常伟岸，让我们记住“娄烨”这个名字！
编辑：周志刚 校对：冯仍 翻译：周敏
Let Us Remember the Name “Lou Ye”
Abstract: Starting from the director Lou Ye and his film An Unfinished Film, this article recounts the darkness during China’s pandemic lockdown period, and the courage of director Lou Ye—who is fundamentally different from the lackey nature of the likes of Chen Kaige and Zhang Yimou—in persisting to shoot realistic themes despite facing long-term censorship and bans.
Achieving knowledge to inform the world, achieving goodness to cultivate oneself. Today, let us talk about the banned film director, Lou Ye.
Not long ago, An Unfinished Film, directed by Chinese director Lou Ye and recounting the Wuhan pandemic, won the highest award at the Taiwan Golden Horse Awards—Best Feature Film, and Lou Ye won the Best Director award. Prior to this, at the 2024 Cannes Film Festival in France, this new work by Lou Ye, which reproduces the “Wuhan Lockdown,” was also selected for the Special Screening section; at the same time, this film once again obtained the “honor” of being banned in China.
Lou Ye stated that he did not care about the domestic market in China in the first place, and it seems he was psychologically prepared from the very beginning to be banned domestically. He would rather give up the massive domestic market to present this conscientious work, allowing global audiences to understand how the Chinese Communist Party enforced policies brutally during the pandemic, plunging people into helpless and tragic living situations.
According to reports, at the Cannes Film Festival venue, after the film screening ended, someone shouted loudly: “Lou Ye, you are China’s greatest director!” A member of the audience at the scene said that by the second half, sobbing could be heard from all parts of the theater, and audiences in the back rows said that everyone was crying for themselves… “This is the greatest Chinese film of the past decade in my heart.”
Zhao Liang, a former Chinese film critic currently living in the United States, said that this is a suicidal film, and it is impossible for Lou Ye to develop domestically anymore; he has already cut himself off from the Chinese government. First of all, his filming of this pandemic is extremely sensitive for the Chinese government and is a subject matter that absolutely cannot be touched. The Chinese government has now destroyed all archives related to the pandemic in hospitals, as if this event never happened; it has destroyed all archives of the lockdowns and all records at the time, whether in the government, in hospitals, or in grassroots organizations and neighborhood committees—all archives have been destroyed. For you to still shoot a movie and take it abroad to screen, aren’t you looking for death?
He frankly admitted that he deeply admires Lou Ye’s courage. In terms of talent, Lou Ye’s works might not be the best, but he is indeed the most thoughtful and possesses the most rebellious spirit, which is very good among the current Sixth Generation directors. The Fifth Generation directors are completely finished; they have all knelt down, a total mess. It is highly likely that after Lou Ye saw that pandemic archive destruction order, he felt even more duty-bound and hurried to complete this “quasi-documentary” film.
Insiders in the industry disclosed that the government requested that no materials be left behind, not even on computers; vaccination records were to be deleted, nucleic acid testing records, and some embarrassing things done by the government during the entire anti-pandemic process were all to be deleted and destroyed. Although this destruction order was an internal document, the fact that the government dares not make the destruction order itself public reveals their guilt and anxiety.
The government is guilty because reality shows that during the more than three years of the pandemic, everything it did was so ridiculous, acting willfully under the banner of “considering the safety of the people’s lives”: including strict and frequent nucleic acid testing and ubiquitous nucleic acid requirements; the health codes shackled onto everyone; forced vaccine injections without which one was not allowed to work or go to school; and various lockdown policies that disregarded the survival of the people in order to achieve dynamic clearing.
However, the result of the nucleic acid testing and lockdowns, which nearly exhausted medical insurance funds, was that instead of being controlled, the pandemic kept surging here and there. By the end of 2022, under circumstances where it could no longer be controlled and the White Paper Movement was rising, the government had no choice but to opt for a full reopening. In an instant, over 90% of the personnel nationwide were infected, dead bodies were everywhere, crematoriums were packed to capacity, yet the government claimed that the anti-pandemic fight had achieved “victory.”
Since it claimed that the anti-pandemic fight achieved “victory,” logically speaking, it should not delete all data related to the pandemic; after all, this is the testimony of its own “victorious” history. Yet in reality, it slapped its own face once again, secretly ordering the complete destruction of pandemic data. Doesn’t this indirectly admit that the so-called anti-pandemic “victory” was actually a “failure”? And this is probably the reason why the destruction order was issued secretly and not made public in the media.
What is the incentive behind the destruction order? In recent years, a large number of vaccine sequelae sufferers have appeared, and some have even died; the government is afraid of being held accountable. During the pandemic, the government forced all citizens across the country to get vaccinated and repeatedly guaranteed that the vaccines were safe—that getting vaccinated could prevent infection and prevent severe illness. The result of this trust was that citizens who received several doses of the vaccine not only failed to prevent infection, but many people also developed other problems in their bodies, such as pulmonary nodules, herpes, cancer, sudden death, etc., and more and more people believe that this is highly related to the vaccine injections.
Recently, numerous vaccine victims submitted the Proposal Calling for the Establishment of a “COVID-19 Vaccine Injury Relief and Protection Mechanism” along with a list of 2,656 victims to the National “Two Sessions,” hoping the government would introduce relevant policies and pay attention to these “obedient” and unfortunate groups. However, just like the “appeal to apply for the disclosure of officials’ property,” how could the “Two Sessions,” which do not truly represent the people in the first place, pay any attention? On the contrary, health bureaus and official institutions across the country successively issued response notices stating “Notice of Non-Acceptance of Applications for Investigation and Diagnosis of Abnormal Reactions After COVID-19 Vaccination,” clarifying that after citizens receive the COVID-19 vaccine, any developed diseases—including but not limited to leukemia, diabetes, pulmonary nodules, and cardiovascular and cerebrovascular diseases—are unrelated to the COVID-19 vaccination. Furthermore, during the process of citizens receiving the COVID-19 vaccine, the three basic principles of “informed, consenting, and voluntary” were completely followed; every vaccine recipient must bear the responsibility and consequences for their own vaccination decision, which has nothing to do with the government and health departments. Similar applications and appeals will not be accepted at all in the future.
It was clearly forced or covertly forced by the government, yet it must be spun as conscious and voluntary. If you are not “conscious and voluntary,” you cannot go to school or work—isn’t this forced? Even forced quarantine is described as people’s voluntary choice; where can you go to reason?
The police are the people’s police, the courts are the people’s courts, the banks are the people’s banks, and the representatives are the people’s representatives. It forces you in the name of the people, and since you are a part of the people, you are acting voluntarily; their logic is just that simple.
If one further connects this with the news of “key figures dying mysteriously one after another,” it fills one with even more doubts about the peculiarities therein. The famous leading figure in pandemic prevention, Wu Zunyou, died at the age of 60; Cao Xiaobin, the king of Beijing Sinovac COVID-19 vaccines, died at the age of 45; Professor Wu Jianguo, a virologist at Wuhan University, died of a sudden illness at the age of 66; those who passed away previously also include COVID-19 vaccine research expert Zhao Zhendong, aged 53; Zeng Bing, aged 52; Liu Bin, aged 37; and nucleic acid testing research expert Bai Xiaohui, aged 42. COVID-19 vaccine research experts passed away one after another—what is going on here? Everyone knows it well in their hearts; there must be many shameful secrets involved, and only the dead can keep secrets.
Returning to director Lou Ye, this time Lou Ye’s An Unfinished Film being banned domestically was a destined event. Will it lead to him being banned from filmmaking for life? It is entirely possible. Previously, he had failed censorship due to sexual and political boundaries in a certain film; he was banned from filmmaking for five years for participating in a film festival without authorization. Almost every single one of his movies gets banned. If it is not banned, it is on the way to being banned, and Lou Ye has thus garnered the title of Mainland China’s “King of Banned Films.” As the saying goes: Produced by Lou Ye, it must be a banned product. Aside from being saved on hard drives by cinephiles, his films win awards everywhere; it can be said that he owns half of the military medals for our country’s underground cinema! Lou Ye also had a few films that luckily passed censorship and were screened in mainland China. Many audience members, drawn by Lou Ye’s reputation, flocked to theaters to support the box office. That highly renowned Mystery is a crime film directed by Lou Ye; the truth of the story is bewildering and involves many characters, but Lou Ye peels back the layers and advances step by step, not only telling the story brilliantly but also exploring multiple themes such as human nature, love, desire, and society, triggering deep reflection among the audience. Another film of Lou Ye’s depicting the lives of blind massage therapists, Blind Massage, was also welcomed by the audience. However, because his films target ordinary people at the bottom of society rather than the so-called mainstream films of grand narratives, theaters always gave him very few screenings, and his good movies were taken down very quickly.
Conceivably, for a director who does not chase screens full of “positive energy” or Wolf Warrior-style themes, who would invest in him? Therefore, he is destined to be poor, but the principled Lou Ye remains poor yet firm. While other artists avoided the three-year pandemic one after another, he courageously turned his lens toward this sensitive subject matter and shot this “quasi-documentary” An Unfinished Film. Chinese film directors with such thought and conscience can be counted on one’s fingers.
Most of those Fifth Generation directors in China chose to compromise, be obedient, or even associate with them in bad deeds. Look at the likes of Chen Kaige and Zhang Yimou, who tirelessly shoot subjects about the so-called War to Resist U.S. Aggression and Aid Korea, and you will understand how ugly their values are. The War to Resist U.S. Aggression and Aid Korea was originally a wrong decision made by the Chinese Communist Party after falling for Stalin’s old trick. The Kim dynasty supported by the CCP not only makes the North Korean people live a life worse than pigs and dogs, but they have also repaid China’s kindness with enmity to this day. Up to this moment, instead of reflecting on and repenting for the mistakes of those years, they are still singing praises relentlessly. They do not even care about the basic bottom line of being human. I have seen an oral history account describing how North Korean soldiers deal with undocumented crossers: in front of Chinese border defense soldiers, they pierce the collarbones of the crossers with iron wires, stringing them together one by one, treating them worse than livestock. We sacrificed the lives of countless soldiers back then to support such a brutal regime; isn’t that shameful? Today, still positively praising the so-called War to Resist U.S. Aggression and Aid Korea—isn’t this anti-human? Do the likes of Chen Kaige and Zhang Yimou not know these basic common senses? They are completely degenerating voluntarily. Did anyone force you to shoot such subject matter? Could you have refused? I think no one forced you; you could have completely refused. Not only did you not refuse, but you also eagerly rushed to shoot it, just because there was abundant funding waiting for you. For money, plus the benefits of flattery, you even dare to shoot anti-human movies. Compared to Lou Ye, who is full of integrity, their “film character” is simply like dog feces. Do not look at how the likes of Chen Kaige and Zhang Yimou are treated as guests of honor at certain domestic film award ceremonies; in the long river of human civilization’s history, their spinelessness will surely share the same fate as those lapdogs during the Cultural Revolution, ultimately being despised and spat upon by people.
History is just; it will not stop recording their misdeeds just because they once shot a few good movies. While a director like Lou Ye is crying out for the fate of the Chinese people yet has to face being banned from filmmaking for life, the likes of Chen Kaige and Zhang Yimou are celebrating their feast with anti-human movies. By comparison, Lou Ye’s figure appears extraordinarily grand. Let us remember the name “Lou Ye”!
Editor: Zhou Zhigang Proofreader: Feng Reng Translator: Zhou Min
