In Conversation with Chen Guoxing and Ji Huanxue, Director & Producer of Kong and Jigme
As soft light spills over the window frames of a Tibetan dwelling, and melodious Tibetan folk songs drift across plateau winds, Kong and Jigme stands as a sincere visual testament to the integration of Han and Tibetan cultures forged over five years of dedicated creation. The film was honored with the Award for Outstanding Artistic Contribution under the “Golden Romduol Award” at the 3rd Cambodia Asian Film Festival. Its success stems from Director Chen Guoxing's thirty years of persistent devotion to Tibetan-themed storytelling, the steadfast support of Producer Ji Huanxue, and the joint efforts of Han and Tibetan crew members. Together, they allow the profound life philosophies and cultural textures of Tibet to unfold authentically on screen.
Chen Guoxing
Mainland Chinese Director, Screenwriter & Producer
Filmography
Kong and Jigme
Kong Fansen
Master Craftsmen
Major Secretary
Ji Huanxue
Producer Director of Marketing Department, Shandong Film Studio
Filmography
Kong and Jigme
A City in the Village
Du Liniang and Me
Q1:
Congratulations on winning the Award for Outstanding Artistic Contribution under the “Golden Romduol Award” in the Main Competition Section of the 3rd Cambodia Asian Film Festival. Could you share how you felt upon receiving this honor and what you would like to express?
Director Chen:
“I was overjoyed to hear the news of our film's award. From the very beginning of developing this story, I held a clear vision: I hoped this work would do more than tell the story of its two protagonists, a Han Chinese man and a Tibetan local. I wanted its cultural connotations and diverse cultural landscapes to truly “go global” — crossing national borders to reach a broader international stage. We have always strived to craft a film that audiences of all ethnicities and nationalities can understand and genuinely appreciate. This recognition from the Cambodia Asian Film Festival validates the value and meaning our entire team has pursued, filling every crew member with excitement and gratification.”
Film still of Kong and Jigme
Q2:
Director, the scene depicting Grandma Quzhen's passing is a pivotal sequence in Kong and Jigme. Were there any special creative designs behind this segment?
Director Chen:
“We spent more than two years refining the screenplay. I led the creative team on multiple field trips across Xizang, constantly striving to break new ground. Most past Xizang-themed films are told through the lens of Han Chinese directors and writers. While those works each have their merits, I believed we could deliver more authentic, nuanced portrayals of ethnic sentiments, emotional layers and daily life details to deliver warmer, more genuine human moments to audiences.
My bond with Xizang dates back to 1995, when I first traveled there to shoot Kong Fansen, a film about a Han cadre stationed in Xizang. It featured an elderly Tibetan grandmother character, yet limited firsthand understanding of elderly Tibetan people's lives and inner worlds, paired with subtle cultural barriers, left the character underdeveloped — a lingering regret I carried for years. Therefore, while preparing Kong and Jigme, I resolved to invite Tibetan creators to join us and guide depictions of unfamiliar cultural nuances.
I communicated openly with Producer Ji, Mr. Shen Wugang from the production company, and Mr. Tang Ke from the CCTV Movie Channel, laying out my wish to bring young Tibetan artists from Xizang and Qinghai onto the core creative team without significantly expanding the budget. I was deeply moved when this wish came true; my friend Director Pema Tseden personally recommended talent to make it possible.
Thanks to this collaborative team, we approached the sequences around Grandma Quzhen's passing with great calm and care. I brought aboard young Tibetan Director Lhagyal as co-director, entrusting him to oversee authentic representation of Tibetan folk customs. Half of the art and props crew were Tibetan artists, while most composers, editors and assistant directors were young Tibetan collaborators who worked alongside us throughout filming.”
Film still of Kong and Jigme
Q3:
Tibetan folk songs recur throughout the film to shift emotional tones — sung during travel and performed at sacred ceremonies to drive plot progression. Beyond setting the atmosphere, what other narrative purposes do these folk melodies serve?
Director Chen:
“I have created numerous Xizang-themed films starting in the 1990s. During my first trip to Xizang in 1995 aboard a winding mountain highway coach, I witnessed Tibetan people singing, dancing and sharing joy freely — scenes etched permanently in my memory. Thus, during scriptwriting, I intentionally placed protagonist Lao Kong amid rich Tibetan daily life, selecting folk tunes widely circulated in that era. More importantly, to faithfully interpret Xizang culture and show sincere respect for Tibetan communities, we invited Tibetan directors, cinematographers, production designers, editors and composers to participate deeply throughout production, forming an integrated multicultural crew. This was not merely an experiment in ethnic filmmaking, but a process of mutual cultural exchange and enrichment. Tibetan artists possess an innate love and profound comprehension of their native music, providing us with authentic folk material. Tibetan cast members needed minimal rehearsal to convey heartfelt emotion through song, fostering seamless, warm collaboration across the team.
These Tibetan songs are far more than atmospheric devices; they connect shared Han and Tibetan emotions. Their lyrics speak of devotion to family, friendship, love, faith and beauty — universal emotional language bridging two ethnic groups. They help Lao Kong integrate into local life, lend raw authenticity to the film, and let audiences experience the charm of Xizang's culture. During shooting, I instructed the first assistant director to communicate with actors entirely in Tibetan. This small adjustment erased awkwardness and unfamiliarity, fostering a relaxed on-set environment that preserved unfiltered depictions of daily Tibetan life.
The film has earned wide acclaim both at domestic screenings and international film festivals, a testament to our team's reverence for cultural integration. Its global release also creates a vital cultural communication opportunity: it showcases the unique allure of Tibetan culture to the world, presents the harmonious coexistence and shared development of all ethnic groups in China since reform and opening-up, and embodies our nation's inclusive, uplifting spirit. It is both our original creative aspiration and great honor to offer global audiences a window into China's progress and humanity.”
Film still of Kong and Jigme
Q4:
The film centers on “reverence for life” and depicts cultural encounters between Han and Tibetan communities from an equal perspective — neither condescending nor idealizing. What creative considerations shaped this core theme and viewpoint? What specific details ground the portrayal of cultural differences and ethnic equality on screen?
Film still of Kong and Jigme
Director Chen:
“These two elements — Tibetan philosophies of life and an equal narrative lens — are the two pillars of my thirty years creating Xizang-themed stories.
First, perspectives on life represent the most fundamental cultural distinction between Han and Tibetan communities. Han culture's concept of filial piety largely centers on sustaining elders' longevity and health, while Tibetan culture values the full journey of life with a philosophy of acceptance, faith woven into everyday existence. I have witnessed many lives pass in Xizang and know numerous local friends who return to their ethnic roots after retirement, choosing traditional burial rites such as sky burial and water burial. Grandma Quzhen's storyline is adapted from real life; the original draft contained heavier dramatic conflict, but we softened its presentation to authentically convey differing attitudes toward life rather than manufacturing artificial drama.
Second, an equal perspective was a non-negotiable requirement I emphasized repeatedly from the script phase, demanding the entire crew avoid patronizing framing. Many early drafts unintentionally slipped into biased language and framing, so we engaged Tibetan cultural consultants to oversee revisions and fine-tune details on set. For example, regarding hand gestures: Tibetan people do not point directly with fingers, instead holding palms upward as a respectful gesture. I required all actors and crew to adopt this gesture as a constant reminder of cultural respect and equal footing.
We meticulously adjusted linguistic details, physical mannerisms, plot conflicts and dialogue to safeguard harmonious ethnic representation and deliver genuinely balanced storytelling. At a recent film festival, I spotted the Tibetan actress playing the teahouse owner still naturally using the palm-up gesture — proof this cultural respect permeates every frame, a distinguishing feature separating this film from prior Xizang-themed works.”
Q5:
The film frames Han-Tibetan cultural encounters as equal meetings between strangers, free from hierarchical framing. How was this concept established and sustained throughout development and production? As producer, how do you believe this non-hierarchical narrative balances artistic expression and commercial appeal?
Film still of Kong and Jigme
Producer Ji:
“This core creative direction was locked in during the project's early development phase. Director Chen Guoxing directed the landmark Xizang cadre drama Kong Fansen in the 1990s, and when revisiting this thematic territory, he aimed to break new ground, rejecting the condescending, one-sided “charitable donor” framing common to most aid-Xizang narratives.
To achieve this fresh approach, we mandated Tibetan core crew from the project's inception to reconstruct the story through an equal lens. We began by searching for a Tibetan co-director, ultimately selecting Director Lhagyal. We then built key departments including art, cinematography and music around Tibetan creatives. During scriptwriting and principal photography, Director Lhagyal further amplified the balanced viewpoint.
For instance, we added the scene where Lao Kong chokes while eating tsampa, illustrating the outsider's unfamiliarity with local life rather than crafting an infallible hero archetype. We revised a plotline about fatal flooding during dam construction to a conflict where construction cannot proceed out of respect for local religious beliefs, highlighting cultural divergence and reverence for Tibetan faith. Cinematography also reinforces equality: extensive long takes and two-shots feature prominently, such as the wide long take of the blessing ceremony, which centers the ritual itself rather than positioning Lao Kong as the story's focal point, presenting all characters and cultural rituals on level ground.”
Q6:
Kong and Jigme itself serves as a cross-cultural experiment uniting Han and Tibetan creators under a unique co-direction model. As producer, how would you assess the creative challenges and unique value of this collaborative framework? What workflow systems did you implement to ensure dual cultural perspectives were not merely conceptual, but meaningfully integrated into every stage of production?
Producer Ji:
“The co-direction model delivers distinct creative value, as the collision of two cultural viewpoints balances coherent narrative logic with grounded social commentary. The Han director prioritizes the realism and narrative integrity of aid-Xizang storylines, while the Tibetan co-director specializes in raw, heartfelt emotion and poetic cinematography capturing unvarnished daily Tibetan life and culture, eliminating the one-sidedness inherent to a single cultural lens.
Nevertheless, objective challenges persist, primarily divergent cultural perceptions. For example, depictions of religious ceremonies: raised within Xizang's cultural context, the Tibetan director views these rituals as ordinary daily life and advocates fuller, unreserved representation. The Han director, however, possesses deeper insight into broader audience demographics and cross-cultural communication logic, advocating restrained, measured portrayals to ensure global viewers accurately grasp the film's core message. This is not a purely slice-of-life feature, and its tone must align with the broader aid-Xizang thematic framework to foster genuine cross-cultural resonance. Creative priorities also diverge: the Han director focuses on tightly linking social issues to the core aid-Xizang narrative, while the Tibetan director prioritizes organic, poetic cultural expression. These competing priorities demand constant mediation to strike balance. Cultural gaps also inflate communication costs; minor differences in interpreting daily rituals or cultural symbols can spark creative friction, requiring repeated dialogue and mutual compromise to reach consensus.
We built structured collaborative workflows across every production phase to integrate dual perspectives efficiently. In pre-production, core writers, directors and cinematographers joined the team half a year early to anticipate cultural conflicts. We hosted multiple consultation sessions with Xizang cultural scholars to catalog cultural details, define creative boundaries, and resolve potential disagreements long before filming to avoid last-minute delays. During script development, both directors attended every drafting session, requiring mutual sign-off on all revisions; disagreements were resolved through open dialogue rather than unilateral creative mandates.
Clear division of labor governed principal photography: the Tibetan co-director led all scenes featuring Tibetan daily life and religious rituals, drawing on his intimate familiarity with local culture and landscapes. The Han director oversaw storylines centered on interpersonal dynamics and core aid-Xizang social themes to safeguard the film's central narrative mission. For ambiguous shots, we filmed two alternative versions for post-production review. After wrapping principal photography, we conducted multiple test screenings in Lhasa and other locations, gathering feedback from Xizang regional publicity departments, Shandong publicity authorities, former colleagues of Kong Fansen, and cadres stationed in Xizang to guide revisions. Prior to submission for theatrical approval, we sought guidance from industry masters including Director Pema Tseden, creating a closed loop of creation, feedback and revision that secured theatrical release while refining culturally authentic storytelling accessible to global audiences.”
Film still of Kong and Jigme
Q7:
Director Chen and you have nurtured this project over five years, navigating crew turnover yet persisting through every obstacle. What sources of resolve and mindset sustained your commitment across this lengthy journey?
Producer Ji:
“My confidence and mindset shifted across each phase of the five-year development cycle. At the project's launch, we first approached Director Chen Guoxing, drawn to our prior successful collaborations and his formidable artistic expertise. Initially, investors expected a conventional aid-Xizang feature told through a standard narrative lens, yet Director Chen insisted that having already made Kong Fansen, a second film on this subject required radical innovation — voluntarily raising the creative bar. We felt considerable anxiety at this stage, not doubting Director Chen's ability, but questioning whether this bold creative vision would win approval from key investors including government publicity departments. Thankfully, Director Chen patiently articulated his creative vision, gradually winning understanding from studio and publicity department leadership, boosting our confidence and convincing us we were pursuing a deeply meaningful work.
Mid-development, the 2020 COVID-19 pandemic suspended pre-production and delayed funding, halting all preparations until filming resumed in 2021. This period brought immense stress, yet we never wavered from our creative direction or belief in the film's potential.
After filming wrapped, pandemic restrictions persisted, extending post-production and feedback cycles. We received conflicting notes from multiple supervisory bodies, making repeated revisions an exhausting process. Director Chen and I leaned on each other for encouragement, supported by his decades of experience with this genre. We also received vital backing from National Film Administration leadership and thoughtful creative input from Director Pema Tseden, reinforcing our resolve to stay true to our original vision.
When we finally secured theatrical distribution approval, viewed the finished cut, and witnessed positive feedback from audiences and supervisory bodies — culminating in the Award for Outstanding Artistic Contribution at the Cambodia Asian Film Festival — every year of persistence felt fully worthwhile. While the film may not be deemed a blockbuster, its uncompromising creative integrity sets a valuable precedent for all aid-Xizang themed productions.”
Film still of Kong and Jigme
Notes
This in-depth conversation with Director Chen Guoxing and Producer Ji Huanxue immerses readers in the five-year painstaking creation of Kong and Jigme. Far more than a cinematic depiction of Xizang's landscapes and people, the film delivers a sincere cross-cultural dialogue forged by joint Han-Tibetan creative labor. The team refined cultural authenticity through meticulous detail and overcame obstacles through unwavering perseverance. It avoids forced dramatic conflict and hollow ideological grandstanding, instead honoring cultural authenticity with craftsmanship and building cross-cultural bridges through patience. This project proves that sincere creative labor rewards time, and powerful cinema transcends cultural divides to deliver warmth and connection across all communities.
When Director Chen shares his wish that this film resonate across international borders, When Producer Ji reflects on five years of persistence to pursue creative innovation, We uncover the core of Kong and Jigme's success.
Cultural integration is never one-sided export, but mutual listening and understanding. This film blazes a new path for Xizang-themed cinema, and stands as tangible proof that only creation rooted in cultural reverence and equal collaboration can turn moving images into genuine bridges connecting diverse cultures.