Chinese always cherish a deep affection for Berlin International Film Festival (BIFF). From Zhang Yimou, Gong Li, Ang Lee to Gu Changwei, Wang Anquan, Wang Xiaoshuai, young Chinese film directors soar into the sky via Berlin and go through the magnificent transformation in succession. Red Sorghum is the first long film for Zhang Yimou, who just became the director, while Gong Li, the leading actress was a college student at that time. The Wedding Banquet that was awarded the Golden Bear Prize as well was the second long film directed by Ang Lee. It is this journey to Berlin that enables his name to soon be well known by others. Peacock, the Silver Bear Prize Winner was the virgin work for Gu Changwei, the senior director in the film circle. Beijing Bicycle is the fourth long film for Wang Xiaoshuai, while Wang Quan’an only shot two films before directing Tuya’s Wedding. BIFF favors the young talents rather than Chinese films, because it will always provide the opportunity of communication on equal footing and fair competition for all the participants. There are no bigwigs of film circle and language barriers at BIFF, therefore, avant-garde film talents are able to develop their abilities to the full. Last year, there were five films, first works of five directors were selected in the main competition unit, so does this year. Many unfamiliar names appeared on the list of public exhibition, such as Senegal director Alain Gomis’s Aujourd’hui, Danish director Nicolaj Arcel’s A Royal Affair, Swiss avant-garde female director Ursula Meier’s Sister, Greece director Spiros Stathoulopoulos’ Meteora, Portugal director Miguel Gomes’ Tabu, Indonesian director Edwin’s Postcards From the Zoo, French director Frederic Videau’s A Moi Seule and Canadian director Kim Nguyen’s War Witch etc. Among all the exhibited films in the main competition unit, the works of young directors dominate, which commands our admiration for the power of new generation.  

However, the emergence of new talents in succession could not be simply regarded as the praise for the film circle with the history of 60 years. Avant-garde directors who debut at BIFF within these two years have not brought forth several exciting works, which depreciate the real art worth of BIFF. The films at BIFF vary from each other in its own art achievement. The reason Iranian film A Separation could top all the others and monopolize three awards in the last year is the outcome of the poor competitiveness of all the other films. In association with the recent complaints that the starlight of BIFF is rather dim and there are no many topical entertainments, besides the fact that BIFF is in need of Oscar to add luster to itself, the emergence of new talents in succession probably does become a satire.  

What is behind is the depressed awkwardness of the whole art film industry. While audiences, media and even film makers gradually bow to the creed of the top priority of the entertainment, BIFF whose influence is on the decline day in day out tries to make up the gap between itself and the market-oriented tendency on one hand and adhere to the serious attitudes towards art and politics in order to preserve its own characteristics on the other hand. Finally, it could only resort to the avant-garde spirit of new talents to disguise its decrepit body. BIFF, which has the history of sixty years is in need of the method of self-rejuvenation, instead of the simple injection of new blood.