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我自己不知道所谓第六代是按什么来划分的。我第一次知道第六代这个称呼,大概是1992年,在我投考北京电影学院的时候。有一天考完专业课,去美术馆看展览,顺便在那里买了一张新出的《中国美术报》,上面有一篇文章是介绍第六代导演的,当时,张元拍出了《妈妈》,王小帅正在拍《冬春的日子》,吴文光也拍出了他的纪录片《流浪北京:最后的理想主义者》,娄烨的《周末情人》即将完成。也是从这些电影开始,开始了中国的独立电影运动。那是90年代初,在创伤之后,沉闷之中,当时所谓的第六代导演们用电影挑战威权。“独立”两个字,让我异常兴奋。
I myself do not know what is meant by the sixth generation. The first time I know the sixth generation of this title, probably in 1992, when I applied for the Beijing Film Academy. One day, I took a professional class and went to the art gallery to see the exhibition. By the way, I bought a new “China Art Newspaper” with an article introducing the director of the sixth generation. At that time, Zhang Yuan made “Mom” , Wang Xiaoshuai is filming “the days of winter and spring,” Wu Wenguang also shot his documentary “Wandering Beijing: The Last Idealist”, Lou Ye’s “weekend lover” is about to be completed. It is also from the beginning of these movies that China started the independent film movement. It was the early 90s, after the trauma, boring, when the so-called sixth generation directors challenged the authoritarian movie. “Independence ” two words, let me unusually excited.