Jia Xu. Director, Screenwriter, Known for Make You Fall (2021), Wings (2021), and Twin Matchmakers: Billionaire Dad’s Love Quest (2025).

 

What motivated you to pursue a career in filmmaking, and how did your journey begin?

I didn’t actually set out to pursue filmmaking as a career at first. I simply gravitated toward the arts, and that really came from my mom. She has always loved music, but because her family was very poor when she was young, she never had the chance to learn it. So instead, she shared that artistic passion with me.

Growing up, I spent a lot of my spare time exploring different kinds of art. And I loved watching films and TV shows with her — that was our little ritual. I still remember being completely drawn into a Chinese series called My Fair Princess. It was the first time I truly realized what film and television could be and how deeply they could move someone.

And honestly, that was the moment I decided — I want to learn how to make films. It just felt like the right path for me.

Can you describe the process of creating Wings? What inspired the story?

I’ve always been an animal lover. For a long time, I wanted to make a film related to animals, something that could encourage stronger laws against animal cruelty in my country. Not in an extreme way, but simply to say: if someone harms a life, there should be consequences. Every life deserves respect.

Around that time, I came across a news story about a very young child hurting a newborn puppy. It shocked me and raised so many questions in my mind. Are people who abuse animals born that way? Or is it something shaped by their environment? At such a young age, does a child even truly understand the difference between right and wrong? Was it just curiosity — and where does that lead?

Those questions stayed with me. And that curiosity — that need to understand where compassion begins — became the starting point of Wings. It pushed me into the writing process, searching for a story that could explore empathy and the power of choosing kindness.

As both a director and a writer, how do you approach the creative process for a new project?

To be honest, once I started working professionally, the creative process became more limited — I often have to tell the stories that the client wants. But for my own creative work, I still try to keep my imagination alive.

Every week, my husband and I have a “movie night” where we watch at least one new release. Many new films reflect current events and social issues, so afterward, we discuss the story logic, visuals, and themes. We often have different opinions, which leads us to research real news or online discussions to try to prove our points. And usually, that’s when I discover a conflict or a theme that I’m genuinely excited to explore.

When that happens, I create a folder and start collecting anything related — articles, videos, notes. I’ll spend a night writing down the core idea or emotion I want to express, even if it’s just a rough starting point. From there, I expand it into a full story and keep refining the characters, layer by layer. It’s a slow process of discovery, but that’s what makes it meaningful for me.

What themes or messages do you hope to explore in your future films?

I think I will continue exploring themes related to children and animals. I’ve always been fascinated by children — maybe because I’m also curious about myself. I want to understand how a person becomes who they are. How much of our identity comes from our genes? How much is shaped by our childhood and the choices we make later on? I believe both play a part.

And with animals, I’m interested in the question of equality — can animals stand on the same level as humans in terms of dignity and respect? The world is so big, and there are so many things I want to understand.

Of course, I’m not a scientist or a biologist — I’m just an ordinary person driven by curiosity. Filmmaking is my way of exploring these questions, sharing my thoughts, and inviting others to have a conversation with me after the film ends.

What challenges did you face while producing Wings, and how did you overcome them?

My colleagues warned me that children and animals are the hardest to work with — and Wings had both. One major challenge was energy management with the kids. They are often the most excited while waiting to shoot, burning all their energy before the camera even rolls. And once it’s time to film, they suddenly feel like they’re “at work” and want to finish quickly. Even though I know they truly enjoy performing.

So my solution was to plan the schedule around their natural rhythm. I would shoot the emotional or more demanding scenes when their focus and energy were at their peak. And when they felt tired, I would capture the quieter, sadder moments — scenes that don’t require high spirits. Basically, I tried to follow and respect their emotions rather than fight them.

Another important lesson was: don’t treat them like children. Today’s kids know so much. If you try to sugar-coat things or talk down to them, they’ll immediately feel it. Honest, direct communication works best.

As for the animal, it really came down to patience. You can’t force an animal to perform on cue — you just wait for that perfect moment of connection, and once it happens, you capture it as fast as you can.

How did winning the Best Woman Filmmaker category at the Stockholm Film Festival impact you personally and professionally?

It was an incredible honor. During the production of Wings, I experienced a lot of pressure. Many unexpected challenges led me to question whether I was truly meant to be a filmmaker. Winning this award gave me a huge boost of confidence — a reminder that I can keep going and keep trying.

I also hope the film industry continues to create more space for women filmmakers. I believe films told from a female perspective often carry a deeper emotional honesty and a different kind of care for the audience.

Professionally, this recognition is something I feel very proud of. It’s a milestone I’ll definitely include in my portfolio — a badge that encourages me to take the next steps forward.

What do you believe sets your work apart from other emerging filmmakers?

To be honest, I don’t think of my work as “unique” in a big, bold way. I simply try to complete each project with sincerity. Wings was my first time working with both children and animals, which can be considered quite a rare and challenging combination, especially for an emerging filmmaker. If that counts as something distinctive, then maybe that’s it.

While many new filmmakers are focusing on topics like feminism or LGBTQ narratives — which are incredibly important — I’m currently drawn to stories that reflect my own curiosity about childhood, empathy, and our relationship with other living beings. I guess what sets my work apart is that I follow the stories that genuinely matter to me, even if they are quieter or more unconventional.

Can you share your thoughts on the importance of film festivals for new directors?

Film festivals are undeniably the best platforms for introducing new directors to the world. Every year, countless emerging filmmakers take their first steps here. Besides social platforms like TikTok and YouTube, festivals remain the most respected and widely recognized stage for cinema.

They are like a burst of excitement in our everyday lives — moments when audiences celebrate storytelling and passion. People love discussing the Best Film, the Best Director, and the discoveries of the year. And for new directors, this is often where their names are first spoken out loud, where their journeys can truly begin on a bigger scale.

What kind of stories do you feel passionate about telling in your upcoming projects?

If possible, I want to explore stories about children who grow up in war zones. When I was young, I once dreamed of becoming a war correspondent, but my parents strongly discouraged it because it was too dangerous.

My own country has gone through long periods of conflict, and both my parents and grandparents lived through those times. Every time they told me about their childhood, I found myself wishing I could somehow go back and witness those stories with my own eyes.

I want to tell stories from their childhood — stories from turbulent times. I want to use my camera to capture children who are like blank paper, and imagine who they might become if their environment did not shape them so violently.

I once watched a show where children from a poor village and children from wealthy families exchanged lives for a month. When the show asked one of the poor kids whether he wanted to continue living in the rich home, he answered, “I should go home. My wheat is ripening.”

Do you have any particular filmmakers or artists who inspire you? How do they influence your work?

Two filmmakers have had a strong influence on me!

One is Denis Villeneuve. Every frame he creates feels like it could be a desktop wallpaper — the composition, the colors, the atmosphere. I really admire the way he makes visual style serve the emotional tone of the story. His ability to use framing and color to express a character’s inner world is something I’m constantly trying to learn from.

The other is Jia Zhangke from China. He focuses on ordinary people and ordinary lives. Not every story has a hero or a perfect ending — and most people go through life quietly, with struggles that are never noticed. His films have no flashy camera movements or extravagant set designs; just natural accents, real performances, and stories that seem to fall directly onto the ground we walk on.

That honesty is what moves me, and it inspires me to tell stories in natural environments, staying true to everyday reality.

What has been the most rewarding experience in your filmmaking career so far?

To be honest, I don’t feel that I’ve reached a point of real accomplishment yet. I haven’t made a film that fully satisfies me or creates the impact I hope for. So sometimes, the compliments still feel a bit unreal.

But I believe that’s what keeps me moving forward. I don’t just want to make films — I want to contribute something meaningful to society through them. I know I’m still at the beginning, and I’m still learning. The most rewarding moment, I think, is still ahead of me. And I’m working hard to get there.

How do you handle creative criticism or feedback from peers and audiences?

I take every piece of feedback seriously. I understand that people will never fully agree with each other — a thousand people will see a thousand different Hamlets. So I try to look at the notes from their perspective and understand why they feel that way.

If I understand their point, then it gives me a new perspective for next time. If I don’t understand it at first, I will express my own reasoning and have a discussion. If they can convince me, I’m happy to adjust. If not, I’ll stay true to my own voice and artistic choices.

What changes do you hope to see in the film industry regarding diversity and representation?

I believe true diversity in film comes from allowing people to tell the stories they genuinely want to tell — not from forcing filmmakers to follow certain slogans or fulfill a checklist. Yes, film was once mainly a tool for propaganda, but it has evolved into an art form and a means of communication.

I hope that the industry continues to support underrepresented voices, while also respecting artistic freedom. Diversity should not become an obligation or a label — it should come naturally from honest storytelling. When filmmakers are free, their films can speak more authentically to audiences. Representation matters most when it comes from the truth, not from pressure.

In your opinion, how does technology play a role in shaping modern storytelling in film?

Technology is reshaping film in ways we could never have imagined before. We’re already seeing more and more AI-generated short films. They are still in a very early stage, but if this trend continues, we might end up with a generation of “filmmakers” who mainly write code — and that possibility concerns me.

I believe technology should serve as a supportive tool in filmmaking, not a replacement for human creativity. Innovations like better low-light cameras or more advanced facial-tracking systems can help us tell stories more effectively. But using facial topology or other AI tools to generate “realistic” images that blur the line between truth and fabrication can easily lead to fear, confusion, or the loss of authenticity.

If you could give one piece of advice to aspiring filmmakers, especially women, what would it be?

I would say: don’t be afraid of disagreement.

Don’t be afraid to speak your mind. I am not trying to create opposition between genders, so this applies to everyone, but especially to women. When you are working with strong personalities, with your teammates, your crew, or your clients, don’t automatically assume that whatever they say is always right.

You should absolutely listen to people with more experience. Their opinions are valuable and you can learn a lot from them. But I hope that when you agree with them, it is because you have truly thought it through and you genuinely believe they are right, not because you are too afraid to voice a different opinion.