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yoshyushi · 3 months

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20240126 ESQUIREfine Cover Story | Yu Shi: Dexterity to Grow Anywhere

cover story | Yu Shi

After 《封神第一部 Creation of the Gods I》 premiered, the topics of discussion surrounding Yu Shi was fixated on his role and his journey of striving. Despite how he himself always tries his best to give new refreshing and enriching answers, his main focus has never changed. Yu Shi understood what the prodding was attempting to get out from him. Facing these scrutiny and deciphering from people, his consciousness as a public figure were gradually formed.

With the double-edged sword of fame in his hands, what comes with it is a naturality of not having any prior training. Yu Shi remains to have a kind of simple passion, an almost clumsy way of baring himself.

actor | utter innocence

Sprawled on the floor - enamored with the destiny and life of each individual body

First it was the shooshing sound of the wind. The point of view expanded from the back of a horse, tanned hands pulling at the reins, the ground a chaos of needlegrass. A large herd of sheep are hastened into a circle, a cacophony of bleating calls. The skies are transiting between two shades of blue, the setting sun burning, its sides stained with a dream-like smoked purple. A small bright moon hung at the side.

This was a snippet of the vlog Yu Shi recorded when he was filming in Altay. The sun set behind the mountains. He rode his horse, shepherding the sheep as he headed to a local shepherd's home for a meal. This clip was filmed in a very simple way, but the images were authentic, presenting a clean, vivid view of the plains, the culture and vibes of the hardworking, hospitable locals, like a paradise. During the peak period of 《封神第一部 Creation of the Gods I》 screening, this four minute-long clip of Altay went viral, even raising a traveling trend amongst his fans. "Yes, I knew about the many people who went traveling because of it," Yu Shi laughs.

In 《我的阿勒泰 My Altay》, Yu Shi plays a Kazakh youth, his name was Bakhtibek. "Bakhti" means blissful, "bek" is a common suffix used in Kazakh male names, there's no specific meaning to it. In the drama he's known as "Batay (Ba Tai), like a nickname. In the first half of last year, he was like a real Kazakh shepherd, riding horses, shepherding and laboring, blending into local life.

In our conversation, Yu Shi gave a long precursor into describing the details of nomadic life, "shepherding requires a lot of brainwork, to find all ways and means to let the livestock be well fed, the nomads themselves also have to replenish their energy, to eat and to have enough, to keep things simple to bring around. So the locals have accumulated a rich knowledge of production and labor as well as some traditional characteristics."

In the example of the opening of the vlog, he was greeting the nomads in Kazakh honorifics to the elder generation. The other party's reply was slightly shorter, it was the way the elder generation would reply the younger generation. "Kazakh language is a little more complex, there's also gender and seniority differences in greetings. Getting 'free meals' is a common rule. The human density in Altay region is low and the standards of living of the nomads were tough for nomads in the past, often suffering from starvation when shepherding, when they finally pass by a house and enter it for drinks and meals, the head of the house would always host them passionately. The saying goes, Kazakhs are called the community with no beggars, because of how hospitable they are, even if there's only just a piece of naan left, a little bit of tea leaves, they would share half of them with their guests."

"Our filming takes place mainly at the Habahe County and Baihaba. They are considered mature attractions, the view is very beautiful." In Spring the grass is still withered and yellow, the grazing fields only turn green when Summer arrives, there's even mountains of wild dandelions and medick in Dzungaria. "Shepherding in Summer can't be on the mountains. The terrain is slightly flatter so it's possible to ride on the motorbike. In Summer shepherding has to be on the mountains and this can only be done riding on horses." His nomad friends even shared their experiences with him: if he ever feels bored he can dig for colophony on the pine trees and chew on them. It has the flavor of gum, something to pass time by.

Looking at the pictures and videos, Yu Shi was visibly tanned, with a loose outfit, riding around on the motorbike or horse. Sheeps are the hardest livestock to look after, there's even techniques involved in shearing and debugging. In Spring, the sheep would give birth and the lambs have to be brought back and looked after. Very well versed, Yu Shi hugs a lamb, and there was a calf too. "Batay is a pure and wild role. He helps his family to shepherd from a young age and does all sorts of hard labor. As he faces the harsh natural environment, he might be a little slow at interpersonal relationship, not too quick witted. But he has a very rich and vast inner world, he grew up on the plains after all. He knows how to take care of different animals and would communicate and interact patiently."

Altay is the sixth region of the East, the days are long and nights are short. The nomads rise at around three to four in the morning every day. When he's not filming, Yu Shi and his nomad friends labor together and drink tea, sometimes in the tents, some times sitting on the plains, every one distributing and eating the naans they brought along. "The nomads are not complex like the people out there, they are more pure-hearted in spirit, and have no agenda when it comes to interacting with people, no distracting thoughts." Yu Shi is good at observing. In his communication with the locals he learnt a fair bit of things and could even practice his Kazakh. "I learnt Kazakh the hard way right from the start, I asked the teacher to translate all the lengthy lines in the show, record them down and listened to it repeatedly, speaking it repeatedly and relied on muscle memory. When I really spoke to the Kazakhs in their environment I realized I was speaking ok, and felt a pretty great sense of satisfaction."

In between the natural world of things and a need of humanities, he has a subtle grasp on its equilibrium. In his past interactions, Yu Shi doesn't hide his yearning for the heroic and their legends. But besides his metanarrative, he was also enamored with the destiny and life of each individual body, attentive to the intricate triviality beyond breathing and sustenance.

Leaving and returning - if the heavens allow, we will meet again

The "Batay" in author Li Juan's original novel was a dream guy who appeared briefly at the village party. He was wonderful but leaned towards plain, an emotional anchor for a young girl's heart. Yu Shi admits "Honestly, I didn't have much of an impression of this character from the original novel. After I received the script and did the related studies, the character was gradually filled and completed in my mind."

Yu Shi arrived early at Altay and after confirming the filming spots he noticed "The Kazakh males don't grow their hair out on purpose and not all minority communities are exceptionally bold." He also came up with premises for his character. "Batay's thinking is a little more avantgarde and rebellious, he likes music and pop elements, so he grows his hair long. He looks to the world outside and doesn't wish to live a typical life on the plains like his predecessors.”

The Kazakh community in history lives by shepherding and hunting. After the implementation of ban on hunting and gun ownership and other policies on environment and nomadic lifestyle, the contrast between the traditional and modern has become more evident than ever. Not only the younger generation of shepherds, even the older generation are lost in the era of change, selling off their livestock and switching to other occupations to make a living just so that they can catch up with the changes.

For Batay's rebellion and departure, the rupture between modern civilization and the shepherding tradition becomes even more evident through him. Yu Shi created the circumstances for Batay, yet this are also the issues that the younger generation of Kazakhs face in reality.

"Besides shepherding tradition, Kazakhs are also very rooted in familial ties. Relationships between people are very tight." Locally, the shepherds hold regular family reunions. During weddings, coming-of-age ceremonies and other celebrations like birthdays, gifts are a must. "They would even gift children lambs and foals." Even if a stranger passes by they host with passion, playing the dombra, eating meat and drinking wine, and are sentimental when it comes to bidding farewell. "If the heavens allow, we will meet again."

"This is the most precious facet of their local culture. The shepherds are really pure and honest, and are straightforward in the way they express their feelings. For example Batay could be looking at someone and laughing as he sings a song on his dombra. A little dazed, straightforward and cute," Yu Shi documents the day-to-day details of life on the plains, all triggered from the warm emotions of the natural winds.

However, the plains aren't exactly true paradise. In the undulating plains beyond Altay, the views are beautiful, the nomadic life seemingly carefree, riding on horses, peaceful and quiet. In fact it is extremely difficult, especially under the harsh winter weather, the shepherd and animals are leading tough lives. More and more younger shepherds wish to detach from the migratory lifestyle and move to the cities to seek their fortune. This is reality.

Yu Shi had keenly sensed this. "The scenery is very beautiful, the experience touring here is great, but this was never utopia. If we had to live here through an extended time, it is in fact boring. The labors that the shepherds have to go through is tremendous, herding is tough work." When he first read Li Juan's book, he found the words healing. However having actually lived in Altay, Yu Shi felt things shouldn't stop at the superficial. "The author wrote beautifully, this is the power of the arts. An excellent work is able to let those who have never been there to be filled with anticipation. But we should also have the thinking and realization of reality beyond what's wonderful."

In June, he returned to participate in the film festival, making good use of the time on the plane to learn Kazakh language. When he touched down and returned to the big city, Yu Shi was dazed for a moment. "People need to feel the power of nature more. When I returned to the city, I felt awed by the vast nature, from the bottom of my heart I kind of yearned for the mountains and waters. More importantly, cherishing it."

Taking root - child-like and also an inherent dexterity to live and grow

The Kazakh people are very respectful towards horses. "Among all the animals of its land, besides the wounded ones, horses nearly never require humans to look after them. They look for their own grass to eat all year round. It knows how to find grass under the layer of snow in winter, and horses love to keep themselves clean, they'll run into the water and roll around.” Sprinting on horseback, Yu Shi has a kind of "feeling of teleporting". "As I close my eyes, the horse could take me anywhere. This is different from driving a vehicle. Horses are really quiet most of the time, but they give off a powerful sound of urgency when they gallop. They're alive, they are living beings. You may hand yourself over to them. It's such a wondrous feeling. As it starts running, I imagine myself as a general in battle in the ancient times, I'd only hear the breathing sound and heartbeat of the horse, and the sound of the fierce winds."

In a press conference for a certain brand, the organizer planned for Yu Shi to enter on a horse. The horse was very tall and was totally unfamiliar with Yu Shi. They only had an hour's time to know each other. Also, the event was livestream. There were a lot of equipment at the set, the strobe lights could startle the horse. Half an hour before the event the trainer was still holding onto its reins at the entrance to prevent an accident. "But I felt it wasn't genuine in that way, it's like I was pretending to ride on a horse and it affected the overall visuals. Since they have invited me here I should bring forth all of my sincerity." After some consideration, Yu Shi suggested to his team "I can do it on my own, don't worry, please trust me." In the end he rode the horse on his own in matching chemistry. The result was wholesome.

The chemistry with animals and his comprehension of the natural world had come together to create Yu Shi's unique spirit. Having trained in mounted archery in the boot camp, riding horses for an extended time in Altay, shepherding, getting along with camels, cows and the puppies in the ranch, for most of the time he became used to vibing along to a rhythm he calibrates to, finding his own joys in them. He doesn't feel it's childish nor is he afraid of being laughed at. He's just spontaneous in the way he expresses his intimacy.

Last winter solstice, at the 5th Hainan Island International Film Festival's closing ceremony was also Yu Shi's 27th birthday. The hotel he was staying in the couple of days had a special aquarium and offered diving activities. After hearing the introduction his first reaction was "Can I dive then?" On his birthday he went diving in jubilance. In the blue waters, the animals and fauna under the sea was colorful and diverse. Yu Shi interacted with the fishes that swam by and greeted the tourists and people watching from outside the glass, making various fun poses.

An expression of a pure and clear soul. Both child-like and a dexterity to live and grow, as if he could take root no matter where he went. Also, what's precious about Yu Shi- is that such a vivid facet isn't just towards nature and humans, but also towards the people he interacts with.

"He hasn't actually formed a routine work condition. For example at interviews, he speaks to writers like a personal friend, speaking honestly, just like how he would chat in his daily life, there's no framework of limitations." His staff was once worried, such an honest and straightforward manner would be potentially problematic, but after wards decided to retain his vivid side of him & not interfere too much with his individual expressiveness.There are many who had interacted with Yu Shi that are moved by his unguarded sincerity. At the same time they can't help but be curious: How long would such scarce uniqueness remain under the spotlight? As his experiences increase, would an armor be built upon his inherent sincerity and evolve into something impenetrable?The magazine photoshoot took place in an old house in Shanghai. Perhaps the wiring was old and couldn't support sufficient current, there was a short circuit when the team had just arrived. The house was pitch black and was only lit by torchlight. The place was too narrow, props and clothes piled up and there was no walking space, so the people who had no duties at that time were squashed along the aisle or sat on bar stools. A couple of steps away, Yu Shi was curled up in a low and small couch, getting his hairstyle adjusted as he chatted and laughed with everyone.

At that time the video director prepared a pillow for him, with the seams removed and feathers would fly when pressed. As the music began, Yu Shi twirled holding the pillow above his head, danced, and the feathers danced around too, the lights hazy. When the music ended, he turned his head and paused- everyone's coats and down jackets didn't go unscathed, everyone's hair had feathers in them and were laughing at each other. Yu Shi carefully rolled up the withered prop, placed it neatly and laughed as well. "Sorry, sorry, I killed a pillow."

His humor triggered off something. As he looked at the feathers on his hair, Yu Shi got inspired and suggested to the photographer "how about we try a few photos like this?" The photographer smiled and gave an ok sign and he posed immediately. Everyone enthusiastically matched up to his moment of inspiration, scooped the runaway feathers and created an atmosphere of rainfall. Very quickly, the cover image of his single 《梦幻泡影 Pipedream》 was born.

In the eyes of the crew, "Yu Shi isn't the kind to wait for things to come his way, he's good at igniting the passion in the team. It isn't a linear way of everyone carrying out their duties but injecting a lot of thoughts and inspiration from coming together." But in private, he's a sincere and interesting friend who takes care and understands others.

After the shoot that day, we made space to have a room for the interview. "This won't do," Yu Shi felt that the bar stools that were prepared wasn't convenient to relax and converse. He surveyed his surroundings and nudged the only chair available over. "Why don't you sit here." But there were no other chairs, so he sat on top a small coffee table. Not long after, he shifted a bar stool over and gestured "you can put all the recording stuff here."

The last time I saw Yu Shi was in Beijing. It was snowing. Filming took place from noon till nine at night, and it was nearly eleven when the interview was over. As I stood to bid farewell, I was shocked to discover that his teammates were all seated on the floor- there was actually a couch and chairs in the make-up room. Everyone was doing their own thing, huddled together talking softly, breaking into laughing from time to time. None of them felt it was problematic to sit on the floor, and they all looked really joyful.

Gift - having repeatedly tasted the bitter medicine, and so the gift from destiny had arrived

At Weibo Night, Yu Shi posted a group of photos which appeared to be him cutting his hair short at the mirror. At first the make-up artist specially prepared a wig and was making preparations to style him. But at the photoshoot, Yu Shi suggested to "try something different." He also picked a special present that day, Director Cao Baoping's "precious jar" (T/N: precious jar is also pronounced bao ping, a reference to the director's name)

His popularity expanded as the year draws to a close. Various schedules, including his birthday at the end of the year, Yu Shi received many blessings and gifts. Needless to say, he was joyful. What was most delightfully surprising is the love and support from his family. Crossing nearly half of China by flight, his parents had arrived specially to spend his birthday with him and watched his Hainan rehearsals and hosting debut. One week later on Shanghai's countdown stage, Yu Shi descended on wireworks, announcing his new movie role and even sang two songs. Also in the crowd clapping and cheering below the stage was his mother.

When the countdown ceremony ended, Yu Shi returned to Tsingdao for additional filming of 《封神 Creation of the Gods》. Nearly all of them were night scenes, his days and night went topsy turvy. He was used to playing the guitar, reading and writing at night, sometimes even worried about too much brain stimulation at night. "When I can't fall asleep it affects me, I have work the next day. I play videos about the universe at night and listen to Professor Ai's lectures (T/N: Ai Yue Jin, a Marxist and Maoism academia). Anyway I gradually get sleepy as I tune in." And now it's the other way around, major night scenes every day, heading back to sleep as the skies start to turn bright. In between the busyness and exhaustion he found stability.

Too many dreams were fulfilled in the past year. Returning to 《封神 Creation of the Gods》 production at the start of the year, it was as if a loop was formed. On the keywords of 2023, Yu Shi went silent for a long while. "Very complicated. There's a lot of things that touched me. A mixed bag of feelings."

When he was young a birthday gift that left the deepest impression was a basketball jersey. This year, as he pushed open the door after a day's work, was a dazzling sight. During his teenage years in the basketball team "I was facing setbacks almost every day, but the high pressure environment had made me more determined, I was just able to ensure through it all." He honestly expresses all his emotions and desires. In the past days of waiting, his earphones played many Liang Bo and Wu Bai songs, he feels that getting a sense of satisfaction from doing the things he likes is the best condition to be in. That's what music should be too. "When I was young my grandfather taught me to play the er hu, the flute, he really liked traditional music, but I was poor in both of them. It was until later that I learnt the guitar on my own. He gained satisfaction and has now released his own song.

His rich memories had evidently created the foundation of his personality. In the love wrapped in gentleness that he had received and the sharp piercing grueling training he had undergone, he grew into adulthood. Having repeatedly tasted the bitter medicine, and so the gift from destiny had arrived.

Many dramatic moments happened. From his perspective, the period of waiting was also a gift, the layering of experiences was injected into his life, becoming his observation of art, life and people. In the period of March and April last year, Yu Shi was still reading on his bicycle in Beijing, stopping as he wished, watching the congestion of people and traffic. "The weather was really wonderful, no haze, the sun was shining on the people passing by, really bright, there were also little dust particles moving in the air. You don't know their names and what these people had experienced, but the sun was warm. If you smile, someone would be smiling back at you. Every time this happens, I feel like I love this world a little more."

As work entered into rapid mode, such experiences became lesser. Yu Shi remained nimble, keeping that vivid and pure part of him. The day when movie 《星愿 WISH》 premiered, he received a small Valentino (T/N: Yu Shi voiced the character of Valentino) plushy. He couldn't keep his hands off it, bringing it wherever he went the entire day, even placing it on the table when at dinnertime. During that time he was working round the close and had lack of sleep. When the fireworks started, Yu Shi fell asleep as he took a nap on the couch hugging Valentino.

His nap was documented through behind the scenes recording by his team. He had almost no recollection of it, but he was feeling mostly happy that day. After wards, he detailed another nap time he had, where he had a strange dream. "I was rather tired that day and fell asleep in a daze as soon as I laid down when I returned to the hotel. Then I dreamt that my mobile phone was glowing, and many pictures flowed out of it, a bearded old man stood there and said these things are for you. I looked down and those pictures were marked onto my hand like tattoos, the markings wouldn't budge," he said and laughed, gesturing. "How sturdy were the markings? How should I put it? Let me think, ah yes, like the branding on pork meat."- the people around couldn't help but laugh.

"Did you have any other impression at that time?" I asked.

"I forgot, but I remember I was really happy, and the person in the dream looked really benevolent," Yu Shi kept laughing. "I suppose it was a blessing."

#YuShi #于适 #YoshYu #于适Yosh #Interviews #Esquire #Creation of the Gods #FengShen #封神 #我的阿勒泰 #January #January 2024

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nagabajuungu · 3 months

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Movie Review ― Creation of the Gods I: Kingdom of Storms

I’m not familiar with Investiture of the Gods story, either in the form of literary work, movie, TV series/webdrama, animation or any other. I know, more or less, the figure of Nezha, but that is all. So, watching this movie, I’m not even sure I have something to say about it, much less any critical comment. But, at the very least, I have some things in my mind.

Going blindly into it, I thanked God there is an introductory narrative at the beginning; and in only a few words it succeeds in delivering what the audience generally need to know. The first scene is also very clever and beautifully shown: a flake of snow falling from the sky and landing on the eye of a dead soldier―surrounding him are piles of more dead bodies, behind him is the gate to Jizhou, whose lord Su Hu rebels against the King of Shang and thus has to face thousands and thousands of Shang dynasty soldiers led by the King’s second son, Yin Shou.

So the movie actually starts with the battle between Jizhou and Shang grandly shot with snow, rain of arrows, fire and loud, heart-pumping music at the background. It pauses a little bit to ‘introduce’ the relationship between Yin Shou and his son Yin Jiao, and between Yin Jiao and his best friend Ji Fa (our main character and narrator) who not only ride side by side but also cover up each other before their commander. And then the battle continues with more loud music and more fire but with, much to my disappointment, shorter screen time and slowly progresses to a more individual fight. The scene at the Xuanyuan Tomb, though, leads the audience to the point at which we all kind of have expected it turns―the appearance of Su Daji and what her character has to offer in the next phase after collapsing in front of our ‘hero’.

If you think this introductory scenes run too hasty and are too packed, well, I don’t think there was anything the director could do since they already have a more-than-two-hours-long output whereas they have to tell the audience a more-or-less whole and understandable story. It only slows a bit down when everything and everybody moves back to Zhao Ge, but still, the death of both the King and the first prince is all of a sudden. The plot moves forward as fast and steady as the horses’ gallops in the battlefield, but at times it is too fast that we are made breathless with so many details jammed tightly into the ‘short’ duration. And often times the editing (I seriously don’t get how it could win an award in best editing category) is so jarring we start to think there are some things missing in the middle (and yes, they cut a lot of scenes). Watching this movie is painfully like being thrown information after information continuously just so we can see the big picture but not more. Even the friendship between Yin Jiao and Ji Fa (the very foundation of the entire story through to the still-unreleased two sequels) is not shown quite properly due to the cutting. Even if the audience ship them, the CP feeling is not anywhere in the air until Ji Fa saves the escaping Yin Jiao and, before running through the water channel, Yin Jiao touches Ji Fa’s hand and says, “If you let me go, what about you?”; and that’s way too late already.

The look, the visual, the CGI do not help, either. The first time I watched it I almost laughed out loud at the setting of the court in Zhao Ge, which looks so old and raw and cheap. I can understand that this movie is five years old already, but still, even a Chinese webdrama/TV series could look so much better in 2018. Unless you can have some laxity and think that’s how the palace of the Shang dynasty should look like, then you won’t care too much about it. And the CGI is the worst, really such a shame for such a grand of a movie―especially when Nezha, riding on his fire wheels, saves the working slaves and Yang Jian fights off the swarming Shang soldiers to escape from the palace.

Despite all those shortcomings, thankfully, the cast was very well chosen for each and every role. People might raise their eyebrows at Wuershan’s decision to hire new, inexperienced, young actors to play most of the important characters; but that decision has proven right and the best. The highlight here is, of course, Naran who plays the new version of Su Daji. She does not only offer you a stunning beauty, but most importantly an impeccable acting performance: her eyes, her expressions, her gestures, are all on point! The second one I want to put under the spotlight is Yu Shi. He came to the training camp being clueless most of the time, but his natural talent surprisingly shines brightly on screen. He can portray very well the ‘innocent’, good-natured Ji Fa who is not really sure where to put his loyalty: his own father, or the king he whole-heartedly and blindly admires. And when he finally realizes he has been brainwashed he doesn’t lose that 'good boy' look on his face, only looking more mature and determined.

The third point I want to make here is, of course, Chen Muchi playing Yin Jiao, the second most important young character in the movie. He was actually not the best trainee at the training camp, and particularly not the best in the Yin Jiao group. He was very good at physical training, that goes without saying since he was once a soldier, but not much at acting or any other art department. I even almost believe Wuershan picked him to play Yin Jiao merely because, if you have an insanely well-built, damn fucking hot father, then you have to have a son who looks so, too. The father-and-son aura is also there: just put them together in one frame (e.g. their appearance at the Milan Fashion Week) and you will believe that they are truly father and son in real life. He had tried his best during the shooting, and we can see the result on screen, but still. He has improved now, though, and is so much better in The Starry Love (2023) and South Sea Tomb (2023), both of which are his projects years after completing this movie. That can only mean he is willing to learn again and again. And if he keeps going, I don’t doubt he will become a very good actor in the future. He is like a sword still being forged and waiting to be brandished at an opportune time.

Young actors aside, the reliable, senior actors are there to save the day. Li Xuejian! Fei Xiang! Yuan Quan! And without Huang Bo this movie will not be what it is now. He, as Jiang Ziya, is not only the true ‘carrier’ of the whole story, but his comic character and sense of humor bring light to the dark narrative so the audience won’t be ridiculously stressful for two and a half hours. Yuan Quan as the Queen, however, is the one whose character I liked the most. When everybody is literally clueless about the reigning King’s questionable character and that there is actually something wrong, the Queen can already see through it all. She is a determined, knows-what-she-is-doing kind of woman; and she dares, and is willing, to challenge the King to set the wrong things right.

Honestly speaking, I am not a fan of Wuershan. I watched Painted Skin 2 (2012), which was also directed by him, and it was such a huge disappointment for me compared to the first one. Watching Creation of the Gods I: Kingdom of Storms, I honestly think it will never EVER be one of my favorite movies. Perhaps because it’s a fantasy, and I’m not a fan of the genre; or perhaps because of the story itself. I strangely kind of enjoyed it, and have watched it four times for a different reason each. I am looking forward to the upcoming sequel now, but once it gets too fantastical and involves too many god plotlines instead of human ones, then I may just raise my eyebrows and go on with another stuff―which will very much likely be.

What I very much appreciate about this movie is the a-lot-of effort and love and sincerity they put into it. You can see those in how they tried so hard to present you with a good and logical story (though quite awkward due to the editing), how they tried so hard to give you grand action scenes (though very much awkward due to horrible CGI) and how they trained so hard the new, young actors from scratch for six months in a comprehensive training camp. They didn’t even care if they had to wait for five years to be able to release it in theaters. This is not a movie, this is a token of love.

And that love goes beyond everything for they, after five years of hibernation and finally releasing the first installment, went on and reshot some scenes for the last one. People say this movie is a rare product of Chinese cinema, but I’d say it’s a rare gem treated with so much care. Although I wouldn’t say it’s a particularly great movie in every aspect, it’s the result of superb craftmanship with love and hard work, and needs to be appreciated more than anything else.

Rating: 8.5/10

#fengshen #creation of the gods #kingdom of storms #chinese movie #封神第一部：朝歌风云 #封神

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