Chapter Thirty-Nine: The Opening to Marketization

"The Butterfly Effect" received excellent feedback across various online platforms, meeting Gu Zhi’s expectations without exceeding them. Unlike the overwhelming praise it garnered online, in reality, the film attracted far more criticism than acclaim.

The internet has always been the domain of the young, especially those between elementary school and university age. In 2000, many first encountered the internet through messaging apps, discovering for the first time what it meant to go online. Those who had the leisure to frequent major forums were mostly the well-educated with broad horizons; many had studied abroad and were more enthusiastic about this nascent platform than the average person. Yet, these individuals made up only a small fraction of the vast sea of internet users. They eagerly embraced the unfamiliar, their appetite for innovation far surpassing any attachment to the unchanging traditions.

The remaining users were a group of so-called "elementary schoolers"—not meant as an insult, but rather to capture their straightforward, unaffected manner. Their online pursuits were not about innovation or discovering something novel; even gaming was just a bonus offered by the internet. Their true purpose was singular: to play.

Gaming, online spats, flirting, boasting, watching imported films—these were among the few entertainments available to them. The internet provided spiritual fulfillment. For these "elementary schoolers," the ability to accept new things depended entirely on how fun they were—the more fun, the more players would join, and the more energy they would invest. Games and novels, for example, were highly entertaining and thus widely pursued.

There was another phenomenon: something that didn’t seem fun at first could become enjoyable simply because many people played it. For instance, the trendsetting "non-mainstream funeral family" that swept Southeast Asia, or the incomprehensible Martian script—both were once imitated by countless young people.

The public typically assumes this group is highly receptive to new things, but in truth, their range simply has a low threshold and a high ceiling—in other words, there’s almost nothing they won’t try. However, these traits were unique to the internet’s early days. As the web grew and information became more accessible and diverse, people matured earlier, and those with ulterior motives proliferated. The "elementary schooler" group likely now exists only among actual children.

Returning to the point, "The Butterfly Effect" was a type of film that had never before appeared in Huaguo—a production entirely geared toward the market. Both in content and in its publicity, it focused on commercialization. The marketization of Huaguo cinema began with Feng Xiaogang’s New Year's films, which pierced through the vast array of "deeply meaningful" domestic movies, allowing ordinary audiences to enjoy the pleasures of film.

Movies that reflect on society and human nature certainly have their place, but audiences can’t be asked only to empathize and reflect without ever being allowed to relax and enjoy themselves. Most people are already exhausted from their daily work and studies, worn down by the intrigues and deceptions of society. Watching a film is simply a way to forget reality, to find a moment’s rest for the mind in two short hours. If a film insists on leaving viewers burdened with the hardships of life, the injustice of fate, and the callousness of society, why would anyone bother watching, when the world is already like this every day?

Feng Xiaogang managed to open a gap, though it was too narrow to accommodate anything but comedies, certainly not commercial films. And he himself looked down on such movies, aspiring only to greater "depth," making them just to earn money for Huayi Brothers.

It wasn’t until Zhang Yimou’s "Hero" emerged that Huaguo cinema truly entered the commercial era—the era of the blockbuster. The tiny crack was torn wide open by Zhang’s forceful entry. In this alone, Zhang Yimou’s influence was immense—his promotion of the Chinese film industry was unrivaled. It’s hard to imagine that someone already hailed as a master in his field would pivot to create a pure commercial film like "Hero." He must have anticipated the scorn he would face domestically when he made his decision. A trailblazer for domestic cinema, how many times has he led the way?

The marketization of domestic films began with "Hero," but now, out of nowhere, "The Butterfly Effect" had appeared. Although another commercial film, its influence couldn’t compare to "Hero’s," but it was enough to widen the gap that Feng had opened. Of course, criticism was inevitable.

Traditional media—newspapers, film magazines, television—saw a deluge of negative reviews from professional critics, focusing mainly on the film’s lack of humanistic spirit, its disconnect from reality, its fantastical and empty narrative, and lack of social value. Many older filmmakers also spoke out, accusing the creators of "The Butterfly Effect" of neither understanding film nor society, declaring that to even submit such a film for awards was a joke, an embarrassment to Huaguo cinema.

Among these voices joined a newly famous director—Jia Zhangke. He had already released "Xiao Wu" and "Platform," winning the Youth Forum Grand Prize at Berlin and Best Asian Film at Venice, making quite a name for himself in artistic circles.

He specialized in domestic realism and humanistic themes, steadfast in his commitment to critical realism, beloved by foreign juries, though little known to the general public at home. His films were automatically labeled "good movies," and in the eyes of many young intellectuals, the China he portrayed was the only authentic one. Some fans praised him for refusing to kowtow to Hollywood or indulge in fanciful, unreal themes. Not an unfair statement.

Yet, did they ever wonder why films that depict domestic poverty and ignorance so easily win awards? Perhaps Jia Zhangke had already surrendered to the major film festivals. Had he not long abandoned his domestic audience? If Hollywood and the festivals are both run by foreigners, why is making commercial films considered surrendering to Hollywood, while specializing in films critical of China isn’t surrendering to Western ideology?

This time, Jia Zhangke did not blindly criticize "The Butterfly Effect," but did fault it for lacking concern for reality and being too enamored with fantasy.

Gu Zhi cared nothing for these criticisms, accepting them all in stride. He often called Ning Hao, Liu Ye, and Tang Wei, telling them not to worry—if the criticism became too much, just look at the box office numbers.

Unlike the mainstream voices in traditional media, the box office for "The Butterfly Effect" soared, reaching 14 million in a week, far outpacing "A Sigh" and "Mission: Impossible 2," making it the week’s box office champion. With this momentum, the main cast’s fame skyrocketed, and media interviews poured in. Without any need for the China Film Group to spend money, "The Butterfly Effect" was automatically making headlines across the major outlets.

And the impact on Ning Hao and the others was only just beginning.

As for Gu himself, for him, everything had only just begun.