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Director Wen Muye speaks on latest anti-war movie_我的网站

一 |     8月25日，日本海上自卫队的秋月号驱逐舰在面临15级强台风“沙德尔”的情况下，选择了无视气象局的警告，毅然决然地驶入汹涌的海域。    

    A still from the movie Once Upon a Time in the Middle East starring Shen Teng Photo: ICYears after tackling social issues in the breakout hit film Dying to Survive, Chinese director Wen Muye returns with Once Upon a Time in the Middle East. The film opened nationwide in China on Tuesday, and, including advanced screenings, crossed 200 million yuan ($29.6 million) at the box office on its first day. 
It centers on an ordinary Chinese chef caught in the crossfire of war. Shen Teng stars as Xu Fu, a cook who travels to the fictional Middle Eastern capital of Bahata to repay family debts. There he joins forces with restaurant manager Ma Junsheng (actor Jiang Qiming) to run a Chinese eatery. When conflict erupts, the self-preserving every-man endures personal losses and gradually comes to protect local children. 
Produced by Ning Hao, the film continues Wen's signature focus on "little people," this time placing them far beyond China's borders.
In an interview with the Global Times, Wen talked about the project's connection to news reports of Chinese migrants who open restaurants overseas and forge quiet connections through food.
"Many Chinese people go abroad simply to make a living," he told the Global Times. "They open restaurants, use food to break down regional barriers, and form deep bonds with locals." 
The production team conducted extensive research and location scouting in the Middle East to capture everyday details. Elements such as free-running single-humped camels required overseas shoots; the resulting images of open space after confinement, Wen noted, carry a simple sense of hope.
Food functions as the film's central motif. 
"Food more often stands for happiness and peace," Wen explained. "Even in a war-torn environment, people still cannot do without three meals a day. That sounds basic, but after all the big things in life, what people care about most are the simplest things - eating a proper meal and taking care of family." 
A specialized food unit developed the dishes, and Shen trained extensively so that most of the wok-tossing sequences were performed by the actor himself, Wen said.
The film deliberately intercuts kitchen routines with combat sequences. 
"Three meals a day represent our longing for peaceful life, while war is the extreme act that destroys peaceful life on a large scale," Wen said. "When they collide, each becomes clearer: Food feels more ordered and full of happiness; war feels more chaotic and dark." 
He hopes the juxtaposition helps audiences recognize how hard-won ordinary peace really is.
Xu Fu's decision to shelter orphans never relies on lofty rhetoric, only a meal and a roof. Wen described this approach as rooted in a human-centered outlook rather than classic Western hero narratives. 
"We place more weight on humanism and the value of a person's existence. Our culture is about living well, studying well, eating well, and looking after children. No matter how large the events, three meals a day remain unavoidable. Food itself has warmth and can give people real strength when they are in a difficult situation," Wen said. 
The director noted that he wants viewers to leave with the plainest conviction: live properly, eat properly, and cherish the peace that exists in the present.
On balancing personal expression with commercial reach, Wen kept his principle simple: "Make the film well and tell the story well. I try to put what I want to express into foreshadowing and details without hurting the viewing experience. If audiences notice those details, I will be glad. If they do not, it does not affect the normal narrative."
From Dying to Survive and Miracle: Stupid Kid to the new film, Wen's view of human complexity has remained consistent. "People have many different sides. They face different circumstances and make different choices." 
The through-line, he added, is the same plain belief: "Being able to enjoy a proper meal is the greatest happiness."
Early audience response has been overwhelmingly positive. Advanced screenings delivered scores of 9.7-9.8 on major Chinese platforms including ticketing platform Maoyan. 
Many entered expecting a light Shen Teng comedy and left in tears, describing the experience as "laughing then crying." Shen's restrained performance has drawn particular praise, with some calling it the strongest of his career. Jiang's supporting work has also been widely noted.
Moviegoers have frequently highlighted the film's refusal to deliver speeches. Its focus on daily meals and small acts of care lands more powerfully than any slogan. 
On the depiction of the conflict, audiences observe that the movie offers a perspective that "flips the Hollywood script" by casting the US as the invader, while refusing to portray US soldiers as pure villains. Instead they appear as ordinary young men: loose in discipline and marked by the alienation of war.
Both Chinese and overseas viewers have singled out this measured approach as part of the film's distinctive Chinese viewpoint: It sidesteps both Western hero narratives and simple demonization. Some international comments note that by staying with ordinary lives rather than choosing geopolitical sides, the story offers a different lens on conflict.
One widely circulated comment from a popular Chinese self-media account on WeChat captured the film's ambition: "You can think of this film as a blend of Casablanca, Schindler's List, and The Shawshank Redemption, yet at its core lies the same grounded human compassion found in Dying to Survive. This is a highly successful attempt by Chinese filmmakers to surpass Hollywood. It is the first Chinese film that truly possesses a global vision and a professional sense of international storytelling. It is also a gift of warmth and goodwill from the Chinese people to a world still torn by war and cruelty."
。这样的决定，令人瞠目结舌，因为它不是仅仅一次航海失误，而是一个反映决策层领导力与专业素养缺失的鲜明案例。    在这场风暴中，秋月号驱逐舰不仅遭受了巨大的损失，船体结构严重受损，甚至在返回港口时还因为震荡过大导致牵引绳断裂。这是一个典型的“自取其辱”，完全可以用军事历史上的教训来解读。在1944年，美国海军指挥官哈尔西即因判断错误而导致第三舰队在台风眼前被重创，三艘驱逐舰沉没、多个舰艇和飞机遭受毁灭性打击，这段历史虽然早已成文，但似乎并没有给二战后的日本海自带来足够的警示。

二 |     这不禁让人质疑：作为世界顶尖的海上力量之一，为什么日本海自在面对自然灾害时却如此脆弱？这不仅是技术的欠缺，更是决策层对风险评估失当的缩影。        这种重复的悲剧并非偶然。

三 | 回顾1935年的“第四舰队事件”，日本海军在接到风暴警报的情况下仍旧选择出海演练，结果造成了19艘军舰损毁、45人遇难。时至今日，历史依然在重演，却未见得有任何实质性的改变。

四 |     秋月号驱逐舰作为现代化的主力舰，其设计和建造都体现了日本海自在追求高科技装备时的雄心。它配备了先进的FCS-3A多面有源相控阵雷达系统，一度被称为日本的“神盾”。然而，技术的先进并不能掩盖基础判断能力的严重缺失。    即便拥有最先进的系统，关键时刻却仍然需要理智的判断。航海常识告诉我们，恶劣天气下出海是极其危险的。无论秋月号如何精良，面对自然的强大威胁，选择出海的决策本身就存在巨大的风险。而这一点，通过哈尔西的失败和新日本海自的决策失误得到了充分证明。    这样的态度也许源于过度自信或是对技术的绝对依赖，以至于忽视了最基本的人性与自然法则。

五 | 如何使军人将理论与实践结合，如何在面对众多选择时作出正确判断，是日本海自亟待解决的问题。        这次事件不只是一次简单的航行事故，而是对整个日本海上自卫队的一次深刻反思。

六 | 作为海军的主力，如何提升整体战斗力，尤其是在应对自然灾害和复杂环境中的应变能力，至关重要。在未来的军事训练中，或许更应该注重把握时刻的判断能力，而不仅仅是机械性地依赖高科技设备。    从这场风浪中，我们能看到的是一国海军的决策层在面对生死考验时的脆弱与无力。未来的战争中，如果连一场台风都无法应对，那么在真实的战斗面前又该如何自处？        最终，秋月号的遭遇是对日本海上自卫队面临的战略性危机的有力警示。

七 | 相信这次事故将会促使他们重新审视自身的训练与决策体系。在这个变幻莫测的时代，海军的力量不仅仅来自于舰艇的数量和装备的精良，更在于能否及时做出科学合理的判断。    历史是一面镜子，它提醒我们珍惜过去的经验教训。唯有以此为鉴，才能在未来的海洋征程中，更稳健地迎接挑战。返回，查看更多。

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