Chapter 205 – The Troubled Beauty
"Four Weddings and a Funeral really is popular in Europe."
On a yacht just off the coast of Cannes, Aaron reclined beside the pool, chatting casually with Sophie Marceau.
The film had been in release for nearly a month. Its North American box office was only around $20 million, but overseas earnings had already surpassed $100 million.
Sophie Marceau's profile had risen sharply because of it.
"It looks like your judgment was right again," she said with a smile. "Four Weddings and a Funeral really took off here in Europe."
Both leads—Hugh Grant and Sophie Marceau—had firmly caught Hollywood's attention.
"What about that French film, Fanfan?" Aaron asked. "Has it been released yet?"
"Not yet," Sophie replied. "It opens next month."
She paused, then added thoughtfully,
"By the way, two films shortlisted for the Palme d'Or are getting incredible buzz—the Chinese-language film Farewell My Concubine and the Australian film The Piano."
"They're both produced by your New Moon Pictures," she continued.
"Their chances are very strong. I even ran into this year's jury president, Louis Malle, a few days ago—he mentioned them himself."
Aaron blinked in mild surprise.
"Farewell My Concubine is indeed excellent," he said. "But The Piano probably resonates more with Western audiences."
In terms of pure artistry, The Piano might not surpass Farewell My Concubine, but the latter was still a Chinese-language film.
Aaron knew Western preferences all too well—Farewell My Concubine's box office potential would likely be limited.
"That's true," Sophie said. "Cannes is different from the Oscars. It places much more emphasis on artistic merit."
She had always felt that Hollywood—and the Oscars in particular—were overly commercial.
---
That evening, at the InterContinental Hotel in Cannes, Crescent Moon Pictures hosted a dedicated media reception for the Farewell My Concubine cast.
The film had already begun its promotional run in France, and the cast's travel from Paris was easy and convenient.
"If Farewell My Concubine wins an award," Brad Grey remarked with a smile,
"it'll be a huge boost for our expansion into the European market."
Aaron nodded. French film circles had always kept Hollywood at arm's length. Many French filmmakers openly scoffed at Dawnlight's highly commercial productions.
"And when will Jane Campion's team arrive?" Aaron asked, his gaze drifting toward the Farewell My Concubine cast nearby—
director Chen Kaige, along with Leslie Cheung, Gong Li, and Zhang Fengyi.
"In two or three days," Brad replied.
"We'll give The Piano the same level of promotion."
He then added as an aside,
"Oh—and people from Golden Harvest have arrived in Cannes as well."
"I know," Aaron said calmly.
"The script is basically finished. We can start filming anytime."
After all, from Hollywood's perspective, Rumble in the Bronx was still just a low-budget project.
Aaron placed such importance on this largely to cultivate the Chinese-language market, laying the groundwork for Dawnlight's eventual expansion into the Greater China region.
"I've heard that mainland China may be preparing to reform its film system," Aaron said.
"It's possible that Hollywood films will eventually be allowed to enter the mainland market through a box-office revenue–sharing model, just like in other regions."
This year, Warner Bros. was set to release an action thriller starring Harrison Ford, The Fugitive.
If Aaron remembered correctly, this film would become the first revenue-sharing imported film officially released in mainland China.
Brad Grey had long supported Dawnlight's push to establish its own international distribution network, and he was well versed in overseas markets.
"The mainland Chinese model is very unique," he said cautiously.
"It's still a planned economic system—changing it won't be easy."
Aaron smiled faintly.
"For now, we're just laying the foundation. In East Asia, our main focus is still Japan and South Korea."
---
The next day, Aaron met with representatives from Golden Harvest Films: Raymond Chow, director Stanley Tong, and the leads Jackie Chan and Joey Wong.
Stanley Tong had previously directed Jackie Chan's Police Story 3: Super Cop.
"The crew has already sent people to Canada to scout locations," Raymond Chow said.
"We're scheduled to officially start filming in July."
Aaron nodded immediately.
"I heard Jackie has another new film coming out?"
"Yes," Raymond replied.
"Another crime-action film—it opens in Hong Kong next month. We're here at Cannes to promote it."
He was referring to Crime Story.
---
That evening, Aaron specifically invited Joey Wong to dinner.
"I've heard that Hong Kong stars shoot several films a year now," Aaron said lightly.
"You must be incredibly busy."
Joey Wong had recently ended a long-term relationship and was also being pursued by a married tycoon back in Hong Kong. Feeling emotionally drained, she was more than willing to work overseas.
"It's busy, yes," she replied, raising her wine glass to clink with his.
"But filming in Hong Kong moves very fast."
Then she added sincerely,
"Thank you for giving me this opportunity. Without your support, I'd never have come to Hollywood."
Aaron smiled.
"You're a good fit for the role."
Joey Wong shook her head with a helpless smile.
"There are plenty of actresses in Hong Kong who'd be just as suitable."
From her perspective, stars like Anita Mui or Michelle Yeoh would have had a far easier time landing such roles.
She knew exactly why she was here—it was because Aaron had seen A Chinese Ghost Story III at the Sitges Film Festival in Spain.
---
After dinner, Aaron took Joey Wong for a walk along the Cannes beach.
The evening breeze lifted her hair, and Aaron slipped off his jacket and draped it over her shoulders.
"Thank you," she said softly.
Loosening his tie, Aaron asked,
"Have you ever considered acting in Hollywood?"
"Hollywood?" Joey Wong froze for a moment, then shook her head in confusion.
"No. I mostly work in Taipei and Hong Kong."
"In Hollywood, I wouldn't get roles."
Aaron neither agreed nor disagreed. Instead, he patted her shoulder gently.
"Honk Kong cinema is at its peak right now—but it won't last," he said calmly.
"The industry is becoming rushed and formulaic, chasing quantity over quality. That's not sustainable."
"And Hollywood films are expanding aggressively across global markets.
Hong Kong cinema, as it is now, won't be able to withstand that pressure."
"Is it really that serious?" Joey Wong asked, clearly unconvinced.
From her point of view, Hong Kong cinema still seemed dazzling and prosperous.
"You'll see soon enough," Aaron said, slipping an arm around her waist.
Suddenly, Joey Wong pointed toward the distant pier.
"Hey—aren't those the three leads from Farewell My Concubine?"
Not far away, Leslie Cheung, Gong Li, and Zhang Fengyi stood together, seemingly taking photos to commemorate the moment.