Chen Sicheng, who is an actor, director, and screenwriter, is considered one of the influential figures in modern Chinese film industry.
Based on the Indian “Drishyam” movies, “Sheep Without a Shepherd” is another successful series that Chen is responsible for producing, and his three “Detective Chinatown” movies have generated over $1.2 billion in box office earnings.
In just 17 days, “Lost and Found”, co-directed by Xiang Liu, Rui Cui, and Chen Xiang, has grossed an impressive RMB3.08 billion ($430 million) in China, making it the biggest film of the year and the seventh biggest worldwide.
The movie is a mystery drama adapted from a Russian ’90s film, which itself was adapted from a stage play called “Man Lonely for Trap A.” It involves high-powered lawyer Ni Ni, who encounters problems and mysteries that become even more complicated. When the woman Janice returns, she believes that the man she sees is an imposter. It is during her holiday with her husband, portrayed by Zhu Yilong, that she witnesses the disappearance of a woman.
The performance of the Chinese film “Lost in North America” has expanded to 93 venues since the weekend, making it the second biggest performance in the region this year. According to Comscore, the distributor Local CMC Pictures reported a tally of $929,000 in box office revenue, starting off with a cool $802,000.
Chen has worked across multiple genres, while attempting to find connections to audiences’ everyday lives. Variety tells us that he is running through a common thread that works below.
Where did “Lost in the Stars” start for you?
The following day, the stranger lying beside him insists that his spouse is indeed his wife, but another man alleges that his wife has vanished. The initial premise of the story captivated my attention.
How distinct was your approach to this film in comparison to the “Detective Chinatown” movies?
In “Stars Lost,” we aimed for pure expression of suspense, incorporating music and visual style, as well as plot elements. “The Shepherd” combines suspense with social exploration, leaning towards social realism. “The Detective Chinatown” franchise is a combination of comedy and mystery, providing a family-friendly experience. In my previous works, I have attempted to fuse various genres.
How did you select the actors for “Lost in the Stars”?
I adore the sense of uncertainty that both Ni Ni and Zhu Yilong possess as actors. Right from the beginning, we aim to avoid the audience forming definitive opinions about the goodness or badness of characters in suspense films. Zhu Yilong’s portrayal of He Fei truly enabled him to embody the role, always maintaining a pleasing level of detachment from the viewers. Ni Ni and the character of Chen Mai are alike in their charm and distinctiveness.
What were the greatest obstacles you encountered during the manufacturing process?
It wasn’t really resonated with viewers, but the script in it wasn’t. We captured the moment when a tear ran down his face. Zhu Yilong’s performance went beyond my expectations and the scene ended pretty well. Fortunately, we all held our breath. We hired a professional barber, as the barber in front of the camera didn’t have much experience. It was a pretty risky scene as we only had one chance to shoot where Yilong Zhu’s hair is shaved.
What insights do you wish the viewers acquire from this movie?
I hope the film encourages those who may act impulsively to think more calmly about each choice they make. A random decision can change your entire life.
What is the situation of Hollywood films understanding that at the Chinese mainland box office, while COVID levels have largely recovered, local titles are struggling?
Nowadays, Chinese audiences prefer films that allow them to deeply reflect on the core story, whether they are watching local titles or Hollywood movies. We are no longer in an era where theaters can solely rely on marketing to attract audiences. As creators, we need to dedicate ourselves to making films that align better with our audiences and constantly improve our production levels.
You worked on television dramas during your earlier years. Why did you decide to transition to thriller films?
I believe that life itself is the greatest mystery. The suspense genre allows me to incorporate reflections on social issues into my works. I enjoy stories of suspense that are relevant to local audiences.
What comes after this for you?
I hope to create more excellent films that can be better understood by both international and Chinese audiences. I plan to adapt the modern literature work “Lighting Ball,” which won the Dun Mao Literature Prize, into a film. I also want to work on realistic comedies. The script is almost ready. Additionally, there will be an expansion and continuation of the series “Shepherd Without Sheep,” which is a spin-off of my original IP. In August, I will shoot a film that is different from my previous works. I plan to explore different genres over the next couple of years.