Interview with Marco Müller at 25th Jio Mami Mumbai Film Festival

Fred Film Radio had the privilege to talk with Marco Müller, an influential figure in the Italian film industry, at 25th Jio Mami Mumbai Film Festival. Marco Müller has played a pivotal role in introducing Chinese cinema to a global audience over the past five decades.

Müller embarked on his cinematic journey nearly 50 years ago when he ventured to China as a film student. Having recently returned to Shanghai as an instructor, he witnesses a growing interest in cinema among the younger generation.

Upon his first visit to China in 1975, Müller noted that despite the long history of Chinese-language movies, the country’s film industry remained relatively unknown internationally. However, his encounters with emerging filmmakers like Zhang Yimou and Chen Kaige catapulted him into the forefront of introducing their works to the world.

Initially an anthropology student, Müller‘s passion for Chinese cinema ignited through regular screenings of films from China. Xie Jin‘s “Youth” in 1977 left an indelible mark, captivating him with its evolving aesthetics and international resonance within Chinese cinema.

Back in Italy, Müller became a driving force in promoting Chinese cinema globally. His groundbreaking “Electric Shadows” retrospective in Turin in 1981 showcased 135 Chinese films, enlightening critics and scholars about the depth and diversity of the country’s cinematic landscape.

Throughout the years, Müller continued to champion Chinese cinema, contributing significantly to various international film festivals. He co-founded the Pingyao International Film Festival with director Jia Zhangke, cementing his commitment to the global dissemination of Chinese cinematic art.

Now, as a faculty member at the Shanghai Film Academy, Müller reunites with old acquaintances like Tian Zhuangzhuang and Chen Kaige. He observes a profound interest in cinema among Chinese youth, noting their encyclopedic knowledge and eagerness to explore diverse genres.

Acknowledging China’s burgeoning influence in the global film market, Müller envisions a promising future for Chinese filmmakers expressing unique narratives and personal experiences. He underscores the crucial need for continued support in distribution to propel these distinct voices onto the international stage.

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