Chapter 3

**The Exam Question: "Not One Less"**

Standing at the classroom door, Xiaoming took a deep breath and firmly held the secret letter his mother had given him.

**The Film: "Not One Less"**

In the late 20th century, China was still quite isolated, and Western countries had little understanding of the domestic situation. How did they learn about it? Through these films!

Starting from the 1980s, Chinese films, especially those with rural themes, frequently won international awards. As long as a film had depth and showcased human nature, winning awards was almost guaranteed.

However, to achieve depth, filmmakers had to delve into the darker aspects of society, often portraying the less favorable sides of the Chinese people. Overall, "Not One Less" was quite good, with many positive elements and humanistic brilliance. But many other films lacked such integrity. Because they could win international awards and at least be nominated for major film awards, many directors began to produce such films, focusing on rural themes, poverty, human ugliness, and social darkness. The uglier and darker, the better, even forming a trend. Filmmakers believed that if they portrayed China in this way, they would have a chance to win awards. The portrayal of "ugly Chinese" in these films conveyed this message to Western judges and audiences, making China appear backward and impoverished. If a film showed skyscrapers, it would be dismissed as fake, and the filmmaker would be accused of being a government propagandist.

This trend grew stronger, to the point where directors felt embarrassed if they didn't produce such films. Wu Xiang, who loved films, watched many award-winning works, despite the risks, thanks to the powerful reach of pirated media. However, he found the experience deeply uncomfortable.

Self-criticism is necessary, but it must be balanced. Many films went too far in their criticism. This trend only began to improve after a decade, as China's development forced Western critics to acknowledge the country's progress. But Wu Xiang deeply detested this trend, feeling that if this was art, it was too lowbrow.

In his exam, Wu Xiang harshly criticized this trend of catering to Western critics and audiences, writing over 2,000 words. He felt he did well, and even now, he doesn't think he was wrong. Even in the era when he died, many so-called artists continued this practice. Although it was harder to make films then, photography still thrived. For example, a classroom in the Liangshan Yi Autonomous Prefecture in Sichuan became a popular photography spot, where many professional photographers captured award-winning images, often winning international competitions, regardless of whether they were staged.

**The Interview**

The third part of the exam was an interview. Wu Xiang remembered that the interviewer initially intimidated him, and his mind was still foggy from fainting. The interviewer asked:

"Xiaoming, you are the only one among the 2,000 candidates for the literature department who dared to criticize Director Zhang Yimou's work. This is why we invited you to the final interview. We want to ask you, as an artist, when praising certain things, should one face social reality and explore the darker aspects of society? Or how should one explore them?"

Wu Xiang stood before the interviewers, unable to speak. On one hand, his head was still dizzy, and on the other, he knew the interviewers were right. Reality must be faced; every society has its dark side, unless it's a communist utopia.

This was a question of balance, finding a center point to remain unbiased, to praise while uncovering social issues, to show darkness and light. Wu Xiang couldn't find this point then, and he still can't now, but he would answer the question.

"May I tell you a story?" Wu Xiang asked, surprising the interviewers, who nonetheless gave him the freedom to speak.

Wu Xiang began, speaking calmly: "My cousin's friend once studied abroad in a nearby country, South Korea. She rented a house outside her school, and when the landlord first met her, he did something interesting."

The interviewers were intrigued, wondering what this tall, thin candidate would say, as the story seemed unrelated to his essay.

Wu Xiang continued: "The landlord took out a toothbrush and toothpaste and said to her, 'This is a toothbrush and toothpaste. You use these to clean your teeth. You haven't seen these in your country, right?'"

"Ah?" The four interviewers were astonished.

Wu Xiang had heard this story from an online account by a student. He didn't embellish it, as the story was already shocking enough.

"This is the story I wanted to tell. It's why I wrote that essay. I know information is limited, and there is bias against us. They think we are uncivilized, barbaric, and ugly. But don't we have a reason for this?"

The four interviewers stopped their work, focusing on Wu Xiang.

Wu Xiang, somewhat agitated, said, "In my essay, I criticized the portrayal of ugliness for the sake of ugliness, the pursuit of international awards, and the迎合 of Western tastes, regardless of the consequences. This is what I hate the most! It makes the outside world misunderstand us. Even South Koreans, who are so close to us, have this view. I find this selfish, shameful, and hateful!"

Wu Xiang's passionate speech left the interviewers stunned. He needed to calm down but wasn't finished.

"Teachers, I deeply admire Director Zhang Yimou. I grew up watching his films. 'Red Sorghum' made me feel passionate, and its use of color showed me the beauty of life. The rural setting and the spirit of the people during a time of national crisis left an indelible impression on me. It made me want to become a filmmaker."

Wu Xiang paused, seeing the interviewers' focused attention, which boosted his confidence. He continued, "I chose to discuss this film because I believe it was handled very well. The characters, though from a different era, still represent us. Despite their rustic and ignorant appearance, they are resilient. Their spirit moved me and filled me with respect. I want to make films like this, though it won't be easy. Teachers, that's all I have to say."

Silence. The interviewers were dumbfounded, looking at the tall, thin candidate as if he were an alien.

Wu Xiang felt uncertain, "Did I go too far?"

"Xiaoming, let's return to the main topic. If you were to make a film about a poor rural area, like in 'Not One Less,' how would you approach it?"

Finally, a question. The interviewers had been shaken by Wu Xiang's thoughts and almost forgot the exam procedure.

Wu Xiang thought for a moment and replied, "If possible, I wouldn't make such a film."

This answer surprised the interviewers again. The candidate was too slippery.

One interviewer smiled and asked, "I'm not forcing you, but why not?"

Wu Xiang smiled back, "It's simple. I have no life experience in rural areas. I'm an only child from a big city. Making such a film without experience would be irresponsible."

The interviewer immediately asked, "If you become a screenwriter or director, will you never address rural social realities?"

"No," Wu Xiang smiled, "I think the rural issue is a matter of uneven development. It's about poverty. If given the chance, I wouldn't make a film, but I have other ways to address it."

"Hmm? What would you do?" Wu Xiang's response caught the interviewers' attention, making them realize this candidate was truly unique, bringing them many surprises.