The 61st Venice International Film Festival has once again become the focus for domestic media attention, as the sixth generation director Jia Zhangke brings his latest film "World" to scrap for the Golden Lion award. Jia Zhangke is the same director who achieved international critical acclaim, if not popularity, with underground films such as "Unknown Pleasures" and "Platform". This time round, the "World" that he introduces depicts the arduous life of Chinese migrant workers, who leave rural homes to seek urban fortunes in the big city; a place full of temptations and troubles. The film focuses on the relationship between a dancer and a security guard. These two characters both work in a theme park, and develop their perceptions and understanding of the world whilst in this self contained environment.

"World" is technically China's only entry for this year's Golden Lion, although the film's leading actress, Zhao Tao (also Jia Zhangke's leading actress in "Unknown Pleasures"), has also been nominated for the festival's "Best Actress." Despite some foreign viewers finding this a difficult film to understand, "World" has gained a surprising amount of attention, with the well-known film critic Michel Simon even describing it as a "perfect film".  Jia Zhangke is currently finding himself having to give media interviews almost every 15 minutes from dawn to dusk. This may not sound like the best way to spend time in Venice, but he feels that wide media interest will have an important impact on his film’s success. Certainly, it has to be hoped that any media influence will be greater than the influence of his past film’s international awards; films which have sometimes even failed to procure a domestic release.

Taiwan director Hou Hsiao-hsien is also in the running for this year's Golden Lion with his offering, "Café Lumiere". It may confuse some as to why this director's film is not also included as a Chinese entry, especially considering the stylistic influence that the younger Jia Zhangke has apparently received from this veteran filmmaker. Fortunately, this decision has nothing to do with politics, but has been made on the basis of heavy Japanese involvement in Hou Hsiao-hsien's new film. "Café Lumiere" is a Japanese backed film, and even more importantly, uses Japanese for its dialogue. This is unsurprising when we consider that Hou Hsiao-hsien has always stressed multiculturalism in his films. Additionally, "Café Lumiere" is a tribute to his great idol, the Japanese director Yasujiro Ozu, who was responsible for black and white classics such as "Tokyo Story".

 Unlike Jia Zhangke, this is not Hou Hsiao-hsien's first business trip to Venice. It was at the 46th festival in 1989 that he won the Golden Lion for his "City of Sadness". From that year on, an increasing number of Chinese stars and filmmakers began to establish their reputations at this festival. Indeed, the world famous Chinese actress Gong Li has even participated as the head of the Venice jury. This time round it will be interesting to see whether Jia Zhangke boosts the young Chinese pride with the addition of a Golden Lion, or whether Hou Hsiao-hsien repeats his 1989 success with a Japanese offering.