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Director Wen Muye speaks on latest anti-war movie_我的网站

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    A still from the movie Once Upon a Time in the Middle East starring Shen Teng Photo: ICYears after tackling social issues in the breakout hit film Dying to Survive, Chinese director Wen Muye returns with Once Upon a Time in the Middle East. The film opened nationwide in China on Tuesday, and, including advanced screenings, crossed 200 million yuan ($29.6 million) at the box office on its first day. 
It centers on an ordinary Chinese chef caught in the crossfire of war. Shen Teng stars as Xu Fu, a cook who travels to the fictional Middle Eastern capital of Bahata to repay family debts. There he joins forces with restaurant manager Ma Junsheng (actor Jiang Qiming) to run a Chinese eatery. When conflict erupts, the self-preserving every-man endures personal losses and gradually comes to protect local children. 
Produced by Ning Hao, the film continues Wen's signature focus on "little people," this time placing them far beyond China's borders.
In an interview with the Global Times, Wen talked about the project's connection to news reports of Chinese migrants who open restaurants overseas and forge quiet connections through food.
"Many Chinese people go abroad simply to make a living," he told the Global Times. "They open restaurants, use food to break down regional barriers, and form deep bonds with locals." 
The production team conducted extensive research and location scouting in the Middle East to capture everyday details. Elements such as free-running single-humped camels required overseas shoots; the resulting images of open space after confinement, Wen noted, carry a simple sense of hope.
Food functions as the film's central motif. 
"Food more often stands for happiness and peace," Wen explained. "Even in a war-torn environment, people still cannot do without three meals a day. That sounds basic, but after all the big things in life, what people care about most are the simplest things - eating a proper meal and taking care of family." 
A specialized food unit developed the dishes, and Shen trained extensively so that most of the wok-tossing sequences were performed by the actor himself, Wen said.
The film deliberately intercuts kitchen routines with combat sequences. 
"Three meals a day represent our longing for peaceful life, while war is the extreme act that destroys peaceful life on a large scale," Wen said. "When they collide, each becomes clearer: Food feels more ordered and full of happiness; war feels more chaotic and dark." 
He hopes the juxtaposition helps audiences recognize how hard-won ordinary peace really is.
Xu Fu's decision to shelter orphans never relies on lofty rhetoric, only a meal and a roof. Wen described this approach as rooted in a human-centered outlook rather than classic Western hero narratives. 
"We place more weight on humanism and the value of a person's existence. Our culture is about living well, studying well, eating well, and looking after children. No matter how large the events, three meals a day remain unavoidable. Food itself has warmth and can give people real strength when they are in a difficult situation," Wen said. 
The director noted that he wants viewers to leave with the plainest conviction: live properly, eat properly, and cherish the peace that exists in the present.
On balancing personal expression with commercial reach, Wen kept his principle simple: "Make the film well and tell the story well. I try to put what I want to express into foreshadowing and details without hurting the viewing experience. If audiences notice those details, I will be glad. If they do not, it does not affect the normal narrative."
From Dying to Survive and Miracle: Stupid Kid to the new film, Wen's view of human complexity has remained consistent. "People have many different sides. They face different circumstances and make different choices." 
The through-line, he added, is the same plain belief: "Being able to enjoy a proper meal is the greatest happiness."
Early audience response has been overwhelmingly positive. Advanced screenings delivered scores of 9.7-9.8 on major Chinese platforms including ticketing platform Maoyan. 
Many entered expecting a light Shen Teng comedy and left in tears, describing the experience as "laughing then crying." Shen's restrained performance has drawn particular praise, with some calling it the strongest of his career. Jiang's supporting work has also been widely noted.
Moviegoers have frequently highlighted the film's refusal to deliver speeches. Its focus on daily meals and small acts of care lands more powerfully than any slogan. 
On the depiction of the conflict, audiences observe that the movie offers a perspective that "flips the Hollywood script" by casting the US as the invader, while refusing to portray US soldiers as pure villains. Instead they appear as ordinary young men: loose in discipline and marked by the alienation of war.
Both Chinese and overseas viewers have singled out this measured approach as part of the film's distinctive Chinese viewpoint: It sidesteps both Western hero narratives and simple demonization. Some international comments note that by staying with ordinary lives rather than choosing geopolitical sides, the story offers a different lens on conflict.
One widely circulated comment from a popular Chinese self-media account on WeChat captured the film's ambition: "You can think of this film as a blend of Casablanca, Schindler's List, and The Shawshank Redemption, yet at its core lies the same grounded human compassion found in Dying to Survive. This is a highly successful attempt by Chinese filmmakers to surpass Hollywood. It is the first Chinese film that truly possesses a global vision and a professional sense of international storytelling. It is also a gift of warmth and goodwill from the Chinese people to a world still torn by war and cruelty."
。    IGN近日发布文章，谈到了《黑神话：钟馗》此前公开的实机预告，并对游戏目前展现出的风格进行了评价。IGN认为，与《黑神话：悟空》相比，《黑神话：钟馗》的整体观感似乎没有那么“史诗级”（epic）。前作早期实机就展示了沙漠、寺庙、巨型建筑等大量壮观场景，而《黑神话：钟馗》的预告则更多发生在灰暗、阴沉的森林中，整体风格更加粗粝、阴郁和贴近现实。    此外，《黑神话：钟馗》目前展示的内容也没有《黑神话：悟空》那么强调视觉奇观。

二 | 预告中没有出现悟空的变身、筋斗云或体型巨大到夸张的敌人，完整展示的Boss战在IGN看来，也没有达到《黑神话：悟空》开场灵虚子战斗那样的视觉冲击力。    不过，IGN认为这未必是一件坏事。文章指出，《黑神话：钟馗》预告片展现出的重点似乎已经发生变化。相比《黑神话：悟空》通过宏大的Boss战和场景设计来制造震撼，《黑神话：钟馗》似乎更加注重故事、角色以及一些轻松有趣的互动。    例如预告中出现了钟馗钓鱼、造船、与骷髅乐队一起演奏乐器，以及“小矮人”在汤碗里洗澡等内容。这些片段显然不是为了展示游戏的战斗规模，却让IGN认为《黑神话：钟馗》正在尝试建立与《黑神话：悟空》不同的气质。

三 | IGN还表示，自己在《黑神话：悟空》中最终留下最深印象的，其实并不是战斗，而是游戏背后的思想与情感。    在IGN看来，《黑神话：悟空》并非简单改编《西游记》，而是在原著故事结束后继续讲述新的故事，并围绕自我、自由和觉悟等主题展开探索。这些内容也成为游戏能够真正打动玩家的原因。因此，IGN认为，如果《黑神话：钟馗》能够进一步强化故事和角色，即使牺牲一部分《黑神话：悟空》式的宏大演出，也未必会让游戏失色，反而可能带来一次新的惊喜。文章最后指出，《黑神话：悟空》的预告片此前已经被证明能够较为准确地反映最终成品，因此玩家或许可以期待，《黑神话：钟馗》最终真的会成为一款规模没那么宏大，但更加注重故事的作品。

四 |     IGN同时注意到，游戏科学创始人冯骥此前公布的开发原则中明确提到，团队希望制作的是自己真正想玩的游戏，而不是一味追逐市场潮流。    因此在IGN看来，《黑神话：钟馗》即便与《黑神话：悟空》有所不同，也并不意味着它会逊色于前作。本文由游民星空制作发布，未经允许禁止转载。

五 | 更多相关资讯请关注：黑神话：钟馗专区。

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