Jia Zhangke to Direct ‘Mamma Dunhuang,’ Draws Line on AI Use in Filmmaking

Following the conclusion of the 10th Pingyao Crouching Tiger Hidden Dragon International Film Festival on September 30, director Jia Zhangke is set to begin location scouting and production design for his next feature, titled “Mamma Dunhuang.”

The film is described as a road movie in which a woman drives from Dunhuang, a historic city in western China near the Central Asian border, all the way to the eastern coastline. Production is scheduled for early winter.

“I really love western China, and I go to Dunhuang quite often,” Jia told Variety. “Dunhuang was a vital transit hub on the ancient Silk Road, keep going west and you can arrive in Rome. Yet, it is so far from the ocean. So this whole film is a continental story that starts in Dunhuang and travels from the west to the eastern coastline – she drives until the sea comes into view.”

Zhao Tao, who previously starred in Jia’s “Shun Li and the Poet” and won the David di Donatello Award for her performance, will reprise her role as a leading actress. In the narrative, her character is a homebound woman who utilizes AI assistance during her journey.

However, Jia was explicit that no artificial intelligence would be employed in the actual filmmaking process. “I will not use AI in making ‘Mamma Dunhuang,’” he stated. “It only plays a role in the story.”

Jia, who founded the Pingyao festival, reflected on its first decade, noting that while ten years may seem short, the film ecosystem and media landscape have undergone drastic changes due to technological advancements. He emphasized the festival’s strategy of remaining nimble and adaptable to current cinematic and cultural topics.

Unlike many international festivals that screen hundreds of films, Jia intends to keep the Pingyao lineup compact, focusing on the year’s most promising boutique titles to help them reach the market. This year’s official selection consists of just 51 films.

“As a festival, not only must it have great programs, but also a vibe of equality, freedom, and ease, setting a tone where the filmmakers and audiences can merge together,” Jia explained. “We put effort into bringing in films with great artistic value, and meanwhile cover as many countries and regions as possible, prioritizing regions less familiar to Chinese audiences, such as northeastern Europe and South America, hoping to introduce a broader spectrum of cinema to the Chinese audience.”

The festival’s digital presence continues to grow, with its online ticketing system recording over 70 million visits this year. Despite this popularity, Jia acknowledged capacity constraints within the UNESCO World Heritage site. The organizers are currently discussing plans to construct an additional 300-to-500-seat theater inside the ancient city walls, though progress has been difficult.

Reflecting on the festival’s approach to technology, Jia noted that while Pingyao partnered with visual artist Xu Bing on the “AI-IF” exhibition for its fifth edition, none of this year’s official selections were created using AI. “We’ve been prudent,” he said, adding that the festival maintains a stance of “prudent inclusivity,” encouraging discussion and understanding of AI rather than shying away from it.

In other industry news, Jia’s art-house distribution company, Unknown Pleasures, is currently negotiating to acquire two titles from the Cannes Film Festival: Andrey Zvyagintsev’s “Minotaur” and Marine Atlan’s debut “La Gradiva.” “We hope Unknown Pleasures’ acquired titles all have a great showcase in Pingyao,” Jia said.