From July 3 to July 6, the 2023 Maritime Silk Road International Documentary Conference took place in Quanzhou, Fujian. This global event brought together over 400 documentary filmmakers, directors, and scholars from more than 40 countries and regions, including France, the UK, Canada, Japan, and Cambodia, for three days of in-depth discussions on documentary filmmaking.

During the event, British director Malcolm Clarke made an appearance at the conference. Clarke has frequently spoken about his understanding of Chinese society and how he tells China's story through documentaries.

Malcolm Clarke has a unique connection with China.

In 1981, as a young filmmaker working on a documentary, Clarke set foot in China for the first time. He was housed at the Beijing Hotel, where the early morning sounds of bicycle bells echoed along Chang'an Avenue as thousands of people commuted to work. Cars were scarce, and the places he visited, including the Yangtze and Yellow Rivers, were impoverished.

"China was still quite poor and underdeveloped back then, but it left a profound impression on me," Clarke recalled during his keynote speech at the conference's main forum.

Thirty-two years later, Clarke, now a two-time Oscar-winning director, returned to China in 2013 to shoot a film about the future of Sino-American relations, titled "Better Angels." He was stunned by the transformation.

"When I landed in Beijing, I felt like I had arrived in a completely different country from the one I visited in the 1980s. I still had the old images of the '80s and '90s in my mind. Now, I tell my friends in the West that if they want to see the future of the world, they must come to China," Clarke said.

He believes this cultural shock is significant for his Western friends, allowing them to deeply appreciate the achievements China is making, including its cultural revival and vibrant energy.

Moved by these changes, Clarke decided to stay, driven by a simple reason—"One documentary cannot fully capture the breadth of China."

Recently, Clarke's documentary "A Long-Cherished Dream" which portrays the lives of ordinary Chinese people striving for prosperity, won the Best Documentary Series award at the 28th Shanghai TV Festival's Magnolia Awards. The film takes a different approach from traditional documentaries that typically depict national achievements through grand narratives. Instead, it tells the stories of four ordinary Chinese individuals—a village party secretary, a female truck driver, an acrobat, and a group of entrepreneurs from the same village—who improve their lives through hard work, all from a foreigner's perspective.

Before filming, the documentary's producer, Miao Tong, led a research team that visited hundreds of households over six months. They presented all the stories to Clarke, who eventually selected four families as his subjects.

This approach allowed Clarke's documentary to reflect the true circumstances as closely as possible. His lens captured the nuances of China's journey towards prosperity, illustrating both government efforts and the hard work of individuals. The documentary received widespread recognition upon its release, solidifying its status as one of China's exemplary documentaries for international audiences.

In terms of style, "A Long-Cherished Dream" does not take a glorifying approach to China's rise. Instead, it reflects the resilience and determination of ordinary Chinese people as they navigate the complexities of individual lives interwoven with the era's broader changes. The documentary aims to present a more authentic, multidimensional, and vivid picture of China to the global audience.

However, because the film offered perspectives different from those of many Western media outlets, Clarke faced skepticism from some of his Western peers.

"You don't need to respond or debate with arrogance and prejudice," Clarke said.

With over 40 years of experience in documentary and feature filmmaking, Clarke's work has taken him to more than 80 countries and earned him numerous international accolades, including four Oscar nominations, two Oscars, and 16 Emmy Awards.

Clarke believes that there is a deep misunderstanding of China in the Western world today. Over the past decade, as China's GDP has rapidly caught up with that of Western countries, this rapidly rising Eastern power has been viewed by many in the West as an unknown, fearsome entity.

With 1.4 billion people, China has many stories to tell, but how can the world truly understand the real China? In an exclusive interview with The Paper during the conference, Clarke shared his insights on how China can better tell the stories the world needs to hear.

The Paper: In 1981, you visited China for the first time. What was your initial impression of the country, and what did you think of China before you came?

Malcolm Clarke: During my student years, I studied art, painting, and sculpture and was very interested in Japanese art. I studied at Kyoto University for 16 months, and my understanding of China was largely shaped by Japanese art, which is heavily influenced by Chinese aesthetics. So, I learned a lot about China through another Asian country. Growing up in the UK, there were also many discussions about China, sparking a lot of debate and interest. Many people in the West supported China, which was undergoing a significant social experiment at the time. I was curious about politics and wanted to know what was happening around the world. In 1981, I came to China by chance, and this trip changed my perception of the country. I became very interested in China's development and the changes that were taking place, so I spent nine months traveling across the country, meeting many people, from high-ranking officials to the poorest farmers. They inspired me greatly.

This trip to China was a bit like a "historical accident," but in a way, it changed my worldview. I was very young, in my early twenties, and experienced things I had never encountered before. Later, I realized how lucky I was to have had this opportunity.

The Paper: When you refer to it as a "historical accident," are you talking about the unique opportunity to come to China to shoot a documentary?

Malcolm Clarke: Yes, at that time, many people didn't see it as an opportunity, so many senior directors turned it down. They didn't want to come to China, knowing it was poor and difficult, unlike traveling to Paris, Rome, or even Moscow, which was more comfortable. China was considered a very "primitive" country, so the opportunity fell to me. I was lucky.

The Paper: During that trip to China, what impressed or fascinated you the most?

Malcolm Clarke: I traveled along China's two largest rivers—the Yellow River and the Yangtze River. This journey was an extraordinary experience that gave me a deeper understanding of China's vastness and the magnitude of its rivers. I'm from the UK, where the largest rivers, the Severn and the Thames, pale in comparison to the Yellow and Yangtze Rivers. China's rivers are like oceans, with enormous ships, and I was completely captivated by the scenery and the lives of the people along the riverbanks. No offense, but although the locals were very friendly, I saw that their way of life was extremely primitive and harsh, reminiscent of what life in Europe might have been like 200 years ago. When I returned to China in 2013, I no longer recognized the country.

The Paper: In your opinion, where does the power behind such a dramatic transformation in China come from?

Malcolm Clarke: I have always seen Chinese people as incredibly hardworking. They have extraordinary endurance, including the ability to endure pain, discomfort, and hardship, and they can handle intense workloads. In the early years, China faced many challenges, making it difficult to mobilize all its resources effectively. In recent years, China's government has been organizing "targeted poverty alleviation," ultimately lifting many people out of poverty. I believe that if the Chinese government continues on its current path and unites the people to work towards the same goals, China will achieve even greater success, which will be historically significant. Early on, when I moved from the UK to the US, I found Americans to be more industrious than Britons; after visiting China in the 1980s, I discovered that Chinese people were even more hardworking than Americans, which made it clear to me that China was destined to become a country of global significance. When I returned to China in 2013, I was astonished to see how deep and rapid China's progress had been—it was truly shocking.

The Paper: You've traveled to many countries. What qualities in Chinese people have left the deepest impression on you?

Malcolm Clarke: The best way to answer this question is to talk about a documentary I've never made but have always wanted to make. Over the years, I've worked and made films in 86 countries, and in almost every African, South American, and Asian country I've visited, I've always found Chinese people there. For example, in the middle of the Sahara Desert, you will find Chinese traders; if you go downstream to the Nile in Egypt, you'll find Chinese people selling Egyptian women's clothing and handbags. Wherever you go, you'll always find Chinese people working hard, usually harder than the locals, working longer hours and more diligently. If you go to Sierra Leone or Nigeria, you'll find a Chinese person sleeping under the counter of his small shop. He works from 6:00 a.m. until midnight, demonstrating a level of dedication and commitment that must be part of the philosophy he brought from China. They can endure, integrate into the local environment, and make a living. I think this is emblematic of Chinese people: wherever they go in the world, they remain essentially Chinese, which is very admirable. I think this is a particularly impressive quality that Chinese people possess. They don't necessarily emigrate to another country immediately, but they learn how to coexist with people all over the world, earn money, thrive, and do well. In my speeches, I've often said that when thinking about the relationship between China and the West, I see a fundamental dilemma: China needs to be better understood by other countries, but for some reason, true understanding remains difficult.

The Paper: Besides what you mentioned as "Western exceptionalism," why do you think China is so often misunderstood?

Malcolm Clarke: There are many reasons for China's misunderstanding. I think part of it stems from the character and nature of Chinese people. When abroad, Chinese people don't easily integrate into the local population like, for example, Jewish people do. Instead, they tend to keep to their own circles, which is an issue. Chinese people have an inherently Eastern temperament, which is relatively conservative. Unlike Westerners, who are more willing to present themselves to others, Chinese people require some time to warm up and build trust, which is a fundamental issue. But Americans, for example, are talkative, boastful, and good storytellers, and they are very sociable.

This is just one aspect; there is a larger issue with China's media. Although Chinese media has started to tell China's story in ways that are more understandable and acceptable to other countries and regions, the subjects and the quantity of such storytelling still fall short of what is needed for a country of China's global stature. We need better storytelling that shares the everyday lives of ordinary Chinese people—their love lives, anxieties, challenges, and struggles—in a way that Americans, Westerners, and Africans can relate to, so they can see that Chinese people are just like them. China has achieved world-recognized success, and Chinese people have every reason to be proud of this. However, this has also created some pressure in Western countries, so no matter what the Chinese government does, Western countries will verbally attack it. In recent years, China has faced more criticism from Western countries than it did two years ago. This is because those countries are afraid of China, afraid of losing their own position in the world. For Chinese artists and filmmakers, it is now more important than ever to use their narrative skills to tell their stories openly, proactively, and without bias.

"A Good Story Has Its Own Power to Spread"

The Paper: Your documentary "A Long-Cherished Dream" has been well-received by Chinese audiences. How was it received by Western media and your peers?

Malcolm Clarke: "A Long-Cherished Dream" participated in an international film festival but didn't win an award. One of the judges, an English woman, refused to allow the film to win because she insisted it was made under government supervision, as it featured a story about a village party secretary involved in poverty alleviation. As a result, the film did not win, and there's nothing I can do about that—it's just reality. I know that in Western countries, when you say something positive about China, people label it as propaganda. But when any social system or political party does something admirable, why must it be propaganda? For some people with prejudices against China, it's very difficult to change their minds. For these people, due to geopolitical tensions, as soon as you say something good about China, they assume it's propaganda. I think this mindset is very extreme. However, there are also many people in Western countries who are open-minded and do not have fixed opinions; they are simply curious to know whether a story is moving or not. My friends know me well, so they understand that "A Long-Cherished Dream" is not a piece of propaganda.

The Paper: In recent years, with some Western politicians and media distorting China's image, some Westerners have developed fear or negative impressions of China. Do you think documentaries like "A Long-Cherished Dream" can change their views?

Malcolm Clarke: Not entirely. While film is a powerful tool, and a good film can influence some audiences, it is unlikely that a single film or the effort of one person can completely change Western perceptions of China. We must do our best. I'm a filmmaker trying to show the world a positive side of China, and if more filmmakers do the same, I believe more people will start to change their views about China. The second story in "A Long-Cherished Dream" titled "Lin Bao" has had a strong impact on Western audiences. It's a good story that tells of a young woman and the struggles she faces with her family, husband, and son. In fact, a good story has its own power to spread and is a "weapon" against Western prejudices. When people watch this documentary, they will talk about it and may begin to reconsider their preconceptions. I hope that my fellow Chinese documentary filmmakers will also produce more films like this.

From what I've observed, I feel that Chinese people are living better lives and seem happier. When the U.S. or France faces difficulties, racial unrest often erupts in the streets. But in China, people are accustomed to living peacefully, striving for a happy life, which shows that Chinese people are not foolish—they know what constitutes a good life. I believe that stories like these will gradually spread to the West, and I'm glad to be here, telling China's stories to the world.

The Paper: Do you see the goal of helping the world better understand China's achievements as the primary focus of your current work?

Malcolm Clarke: In 2013, I made a documentary called "Better Angels," a large-scale documentary about U.S.-China relations, exploring how China and the United States can work together for a positive future and how they can collaborate for their own interests and those of the world.

Unfortunately, we made this documentary during Trump's presidency. It was clear to us that Trump was using divisive language to change the zeitgeist and people's thoughts, including altering Americans' attitudes toward China—this was his most convenient political tool. So when our documentary was released, we were criticized for supporting China and for being gullible enough to believe in Chinese propaganda, which was very frustrating, especially since our documentary featured three former U.S. Secretaries of State who all agreed that the U.S. and China should cooperate.

I am amazed by China's achievements, and I see it as an opportunity because no one has told China's story in a fair manner. The U.S. has always viewed China with a critical eye, constantly seeking out China's flaws and failures, but they will never acknowledge or accept their own mistakes.

As a filmmaker, I believe the wise professional choice is to present China to the world without bias. Our company is the only production company I know of that handles major national, historical themes, and global political issues without prejudice. Many of the topics we film are true reflections of China.