First of all, this question is about why it has become increasingly difficult for China films to enter the main competition unit in Cannes in recent years. In fact, China was selected for the short film. So why are there fewer and fewer films that have the chance to hit the Palme d 'Or, the main competition unit in China?

20 16 is 0, so is 20 17. The comprehensive national strength is getting stronger and stronger. It stands to reason that China's literature and art should also grow with the economy. To paraphrase a sentence in a political textbook, a certain culture is determined by a certain economy and politics, and it reacts on economy and politics.

There is no economic and cultural paradox in China. You must admit that in recent years, China's film and television works are not satisfactory. The excellent domestic films of 16 and 17 have a good reputation. In some new attempts, there have also been breakthroughs.

For example, Birds in the Phoenix Club, Mountains and Rivers May Depart, and Roadside Picnic are obviously not movies that meet the taste of cinemas, but they still get some support in China. This is an improvement. And a commercial film like operation mekong, China finally found the right way to open it, which once surprised me. And "Roadside Picnic" is also a bit like Jia's "Xiaowu".

Personally, I have always felt that China movies are improving. From word of mouth alone, it seems that the masterpiece of 15 is the masterpiece of 16 and 17. 15, The Mountain May Depart and Twelve Citizens, which ranked first, both scored above eight points, but 16 and 17 were not that high.

However, it is worth noting that China films are moving towards a more mature business model, and the symmetry of word-of-mouth and box office is improving. The cost and box office of Heart Labyrinth are extremely low, and the only praise is word of mouth. This is an embarrassing existence. But 16 and 17 are different. The water from the donkey and the romantic death are, and so is the murderer. These films are both successful in word-of-mouth and box office, and operation mekong is a successful model of commercial films.

So I am very optimistic about the future of China movies. To put it bluntly, a country that is getting richer and richer cannot make movies worse and worse.

Cannes is almost monopolized by America and France. Sooner or later, China will play the role of a dung-stirring stick. Don't worry too much about being shortlisted in these two years. It just doesn't agree with Cannes. Actually, it's nothing. Not all the films shortlisted for Cannes are better than those made in China.