Jia Zhangke Discusses Criterion Releases, Crafting an Ideal Movie Theater Experience, and His Cinematic Heritage

      Caught by the Tides represents that elusive encounter with something I can’t fully confirm is real. Bold in its concept (creating a new narrative from previously filmed material) and executed remarkably well, the film at its finest hints at being a significant landmark. As a long-time admirer of Jia Zhangke and his works (which are now available for streaming on the Criterion Channel), it’s still challenging to digest.

      Jia has been on an extensive tour discussing the film, having premiered at Cannes last year. He began promoting it seriously even beforehand, engaging in a detailed conversation with our own Rory O’Connor. Interestingly, he first hinted at the project during our conversation a decade ago. Given that Jia has likely faced the same set of questions numerous times—enough to drive anyone else mad—my limited time with such a renowned artist, coupled with the need for translation, led me to explore a different line of questioning.

      I appreciate Vincent Cheng for providing interpretation.

      The Film Stage: Throughout your long journey with Caught by the Tides, you’ve consistently shown excellent fashion sense. I was hoping you’d be wearing those sunglasses so I could ask about them—specifically, their brand and where you acquired them.

      Jia Zhangke: [Laughs] Prada. It’s not so much a fashion statement; it’s actually on my doctor’s advice due to an eye injury I sustained while editing, so wearing sunglasses serves as protection.

      What happened during the editing?

      We had an overwhelming amount of footage to review and edit, which meant I spent over ten hours each day staring at the monitor. That took a toll on my eyes—constantly fast-forwarding, rewinding, and simply gazing at the screen for extended periods isn’t healthy for your eyes.

      So you’ve been wearing sunglasses for a while. Do you feel this has impacted how you perceive and interpret the world around you?

      To some extent, yes. They do create a sense of calm since there's a barrier between you and reality.

      I know you're also a Rolex Testimonee.

      Yes, I serve as an ambassador.

      [Points at watch] Is that a Rolex? Do you know the specific model?

      It’s a Diary.

      When I spoke to Miguel Gomes last year, he mentioned receiving sunglasses from a company for promotion when he attended Cannes. How do you consider your fashion choices when presenting films globally—from Cannes to Busan to New York? Are you styling yourself, or is there assistance? What thought goes into how you present yourself as the representative of this film?

      I don’t really put much thought into styling or fashion. My focus is primarily on just two items: the sunglasses, as prescribed by my doctor, and the Rolex, which was a gift for my participation in their mentorship program; I mentored a protégé assigned to me. Rolex is a significant sponsor for the Pingyao Film Festival, so I feel it’s important to highlight these items as part of my so-called “styling” due to their support.

      A major source of support from Rolex is for the Pingyao International Film Festival, especially the masterclasses we hold there each year, featuring filmmakers like Miguel Gomes, Stanley Kwan, and Tony Rayns. Those masterclasses wouldn’t be possible without Rolex’s backing. They are indeed a tremendous supporter and sponsor.

      It’s known that Criterion will be releasing restorations of your films. In the U.S., Criterion represents a pinnacle for arthouse distribution and recognition. This is particularly significant since your films were somewhat hard to find in the past, requiring stateside fans to search extensively. How do you feel about this level of recognition in the U.S.? Is it a goal for you or other Chinese filmmakers?

      Over the past 20-30 years, I’ve made ten-plus films, and I believe these works illustrate various mediums through which audiences can experience them. I see restoration as vital—not only to preserve these films but also to fulfill the needs and desires of younger generations, ensuring they have access to them. This is why restoration and collaborating with the Criterion Collection is so crucial: we must accommodate the future and the younger viewers.

      Years ago, I viewed an extended cut of Platform, approximately 200 minutes long—a version that hasn’t been shown here again. I consider myself fortunate to have seen it. Have you restored this version, or if not, how does that cut fit into your overall connection with Platform?

      We are currently collaborating with the French company Celluloid Dreams to find the best way to restore Platform. Right now, we only have two copies available—one with English subtitles and the other with Italian. Our goal is to locate the original negatives to restore the film based on those, rather than relying on the two copies we possess. This project is underway, and we hope to achieve it with Criterion’s collaboration and support from the French distributor.

      And would that be the longer version?

      Yes, it will be the longer version.

      Is there a comparable entity