In Conversation with Xu Lei, Director of Green Wave
Green Wave centers on Wei Fei, a screenwriter drifting in Beijing, and his father Lao Wei, who travels to the capital to support his son. Wei Fei struggles endlessly between his dream of writing and the harsh realities of making a living. Lao Wei hopes to sell the family heirloom to fund his son's career, only to fall victim to fraud. Amid daily frictions, the father and son gradually come to understand one another.
Boasting authentic, witty storytelling and delicate emotional portrayal, the feature took home the “Golden Romduol Award” for Best Feature Film in the main competition of the Cambodia Asian Film Festival. Director Xu Lei also claimed the Best Screenplay award for the work, cementing it as a critically acclaimed, award-winning realistic drama.
Award Photo of Green Wave
Xu Lei
Mainland Chinese Screenwriter & Director
Filmography: From Taipei to Shenbei, rebuilding, The Hutong Cowboy, Green Wave
Q1:
Congratulations once again on your film Green Wave winning both Best Feature Film and Best Screenplay, two major “Golden Romduol Awards” in the main competition of the Cambodia Asian Film Festival. What were your immediate feelings upon hearing the news? Which qualities of the film—such as its distinctive humorous narrative, nuanced depiction of ordinary contemporary Chinese lives, or profound humanistic care—do you believe resonated most deeply with the international jury?
Director Xu:
“I was genuinely shocked! I only planned to screen the film here, having never visited Cambodia before. Walking away with two major awards was completely unexpected and such a pleasant surprise.
As for what moved the jury, you'd have to ask them directly. That said, I did chat with one juror, Director Miao Miao, after the ceremony. She was captivated by the film's unhurried, gentle narrative style. She mentioned that many contemporary films chase bold stylistic flourishes and unconventional narrative structures, making this simple, unadorned storytelling approach refreshingly rare. She also noted that crafting such a straightforward story is far harder than it appears, both in writing and filming.
As for the other jurors, I suspect they connected with the film's focus on ordinary people. Everyone can relate to the father-son dynamic between Wei Fei and Lao Wei, as well as that universal feeling of striving for a dream yet falling short of one's expectations—a sentiment that transcends all cultural borders.”
Q2:
In your view, what unique identity and value does the “Golden Romduol Award” of the 3rd Cambodia Asian Film Festival hold within Asia's film festival landscape? How does winning both Best Feature Film and Best Screenplay shape the international journey of this film, as well as your personal career?
Director Xu:
“First and foremost, the Cambodia Asian Film Festival acts as a vital bridge within Asia's film ecosystem. It fosters communication between Southeast Asian cinema and productions from other parts of Asia, while also providing a dedicated showcase platform for local Southeast Asian films—a positioning that sets it apart from most other Asian festivals. Beyond that, the festival's selection slate carries a distinct humanistic core and an original creative philosophy.
This festival experience left a lasting impression on me. I've traveled extensively across Southeast Asia for leisure, but this marked my first time screening a film in the region.
Regarding the significance for myself and the film's international run: I've traveled to around a dozen countries to present my work this year, and this Cambodian festival serves as the perfect, crowning finale for Green Wave's international tour. Next, we will shift our focus to its domestic theatrical release, and I couldn't be happier with this outcome. What's more, I met several fellow Chinese filmmakers here—people I'd only known by reputation before. We instantly clicked and formed close friendships, a wonderful serendipity made possible entirely by this festival.”
Q3:
The film adopts a dual parallel narrative following father and son, whose storylines converge late in the runtime. What inspired this somewhat detached narrative framework for a family drama centered on kinship? What strengths does this structure bring to portraying the complexities of modern familial bonds?
Director Xu:
“Most character-driven dramas revolve around two protagonists embarking on a shared journey—Green Book is a prime example. This trope has grown formulaic: characters start estranged or conflicted, then gradually bond as they tackle challenges side by side. I wanted to break free from this familiar template and devise an original narrative framework.
This parallel structure felt perfectly suited to telling a father-son story. In reality, generations often live parallel lives with minimal interaction and rare face-to-face meetings, only crossing paths briefly during holidays. This dynamic mirrors the father and son's relationship in the film, grounding the story in authentic everyday reality while differentiating it from other family dramas.
I locked in this narrative strategy from the very first draft of the script: the father and son exist as two separate parallel rivers, barely intersecting for most of the runtime, until their life trajectories collide as the plot unfolds. This was my core creative decision from day one.”
Film Still of Green Wave
Q4:
Film festivals serve as vital platforms for cross-border exchange among Asian filmmakers. Why do you believe the themes of intergenerational Chinese father-son bonds and personal ambition explored in Green Wave strike a chord with audiences across other Asian territories? Are there any memorable cross-cultural moments you encountered during screenings at international festivals?
Director Xu:
“I didn't originally set out to write a father-son story. My core intent was to depict intergenerational relationships, and I wove my emotions toward my mother into the father character. Storytelling often works this way: you build a narrative around one core emotional driving force, and audiences will draw their own unique interpretations upon viewing, yet that original heartfelt motivation always remains intact.
My deep affection for my mother fueled my desire to craft a story about generational divides. This genuine, sincere creative core generates an emotional resonance that ultimately touches viewers worldwide, or at least that's my perspective.
As for standout moments during festival screenings, my stay in Cambodia was relatively brief. I'd long hoped to visit Angkor Wat, but it turned out to be quite far from my accommodation, so I never got the chance. My hotel sat beside the Mekong River; I wandered along the riverbank one evening, struck by the thought that every place has its own river—a quietly poignant observation.
I also rode a local tuk-tuk. The vehicle reminded me of the buses I took back in school, racing recklessly through city streets, and the moment flooded me with nostalgia for my youth. Outside of that, there were no other particularly striking encounters.”
Q5:
The film features the evocative motif of the “green wave”. What messages did you intend to convey through this imagery, and how does it reinforce the film's meditations on opportunity and life trajectories?
Director Xu:
“I first learned the term “green wave” from a friend who studies traffic design. We were riding in a car once when he pointed out we'd hit a green wave. When I asked what that meant, he explained traffic engineers synchronize traffic lights so drivers who catch one green light will encounter a continuous stream of greens, easing congestion.
I immediately recognized its potential as a powerful metaphor and knew I wanted to integrate it into the script. The protagonist Wei Fei clings to the idea of the green wave, convinced catching this streak of good fortune will turn his stagnant life around. There's something both absurd and deeply moving about this fixation.
Film Still of Green Wave
This captures my view of Wei Fei, and of humanity as a whole: people are equal parts ridiculous and endearing.
In times of hardship, we all cling to small, hopeful symbols. Life is full of unpredictability: some people achieve effortless success with minimal effort, while others toil for decades with little reward. This slightly superstitious yearning for good fortune grows more tangible the older you get, and it shapes how we navigate adversity.”
Q6:
Your filmography spans the highly auteur-driven Rebuilding, the collaborative commercial work The Hutong Cowboy co-created with Director Ning Hao, and now Green Wave, which further explores commercial storytelling in its pacing and tone. How do you strike a balance between preserving your personal artistic voice and catering to mainstream audience tastes? Additionally, do you believe the shift toward commercialization is an inevitable trend within the modern film industry?
Director Xu:
“I've long held a belief: a film is not finished in the hands of its creator, but completed by its audience. Filmmaking demands immense manpower, resources and effort—ultimately, we craft works to share our perspectives and values with others.
On-set photo of Director Xu Lei
Meaningful communication requires crafting stories accessible to audiences. Every viewer carries unique life experiences and knowledge; self-indulgent storytelling that only caters to the creator's niche interests alienates viewers and closes off genuine connection. I opt for broadly relatable storytelling methods, which in no way compromises artistic vision.
I once had a strange dream where I asked a legendary filmmaker this exact question—how to balance artistic depth and commercial appeal. Instead of giving a direct answer, he posed a counter-question: “Do you honestly believe audiences crave shallow, vapid films?” That single line clarified everything for me: artistic integrity and mass appeal are not mutually exclusive. No viewer actively seeks out work devoid of craft and aesthetic value.
As for whether commercialization is an inevitable industry trend, I don't think so. Film has become a more niche, marginalized medium amid today's saturated entertainment landscape, competing with short-form video, video games and countless other pastimes.
Against this backdrop, the industry will likely polarize, with fewer mid-tier productions. On one end lie large-scale commercial blockbusters with A-list casts and massive budgets, delivering immersive theatrical experiences unattainable on phones or computers—yet only a handful of such films can be produced each year. Most creators will be freed from the constraints of big-budget commercial filmmaking to pursue deeply personal, independent projects.
Rising accessibility to filmmaking tools and AI-driven cost reduction lowers barriers to creation. As cinema loses its dominant cultural position, creators gain greater freedom to tell intimate, individual stories.”
Q7:
Drawing from your experience, what advice would you offer emerging Asian filmmakers hoping to break onto the international stage via platforms like the Cambodia Asian Film Festival and other global festivals?
Director Xu:
“First of all, “going global” should be a natural outcome of your work, not your primary creative target. We live rooted in Chinese culture, yet often know very little about overseas markets. Instead of fixating on international acclaim, focus first on crafting authentic local stories that resonate with domestic audiences. If your work strikes a chord at home, it will naturally transcend cultural barriers—international recognition follows organically from genuine local storytelling.
A separate concern: film festivals often develop fleeting trends and favored thematic tropes. In my opinion, tailoring your work solely to cater to jury preferences is far more counterproductive than commercial pandering. Commercial filmmaking at least serves paying audiences; shaping your entire creative vision just to please a handful of festival jurors is a hollow pursuit, personally speaking.
That said, attending international festivals remains invaluable. You gain firsthand insight into which elements of your work translate across cultures and which do not. Audience reactions to subtle details vary drastically across regions. For instance, this film is a comedy, and I noticed vastly different punchlines elicited laughter in different countries. This feedback is an invaluable learning tool that deepens your understanding of your own craft.”
Q8:
Your film left a profound impression on us. May we ask about your upcoming creative projects, whether in terms of thematic direction or production timeline? We're eager to learn more details.
Director Xu:
“I'm next slated to direct a feature titled The Peacemaker, centered on a rural mediator—a local community figure akin to a village patriarch who resolves disputes for villagers. I also have a television drama series in early development. These are my two active projects at present. I aim to move forward as quickly as possible, yet production will hinge on all logistical and creative conditions falling into place.”
Notes
Our conversation with Director Xu Lei was defined by his effortless, unpretentious demeanor. His creative approach mirrors the quiet narratives he captures on screen: no flashy stylistic gimmicks, only careful observation of everyday life and unwavering commitment to sincere storytelling. This unfiltered creative integrity is precisely what allowed Green Wave to move international jurors and resonate with audiences alike.
The calm, measured storytelling on screen belies countless rounds of drafting and refinement behind the lens. It is this dedication to authenticity and meticulous attention to detail that grants the film its cross-cultural emotional power, building great anticipation for its domestic theatrical release. We look forward to witnessing this labor of love on the big screen, and savoring every ounce of craft and human warmth woven into its frames.