Filmart: French Editor Matthieu Laclau Talks China Industry Changes, Looming Shadow of AI

The Chinese entertainment industry has been out in force across Filmart this week, with major companies such as CMC Pictures and the various provincial governments including the sprawling metropolis of Shanghai looking to pitch their locations to the film world.
About two decades ago, French film editor Matthieu Laclau was going in the opposite direction. Laclau, fresh from film school in Paris and looking for work, was told by one veteran cinematographer that he had “no chance to work in the film industry” so he decided to expand his horizons and head east.
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As luck would have it, the move to Beijing was quickly followed by a call, virtually out of the blue, to come work with auteur Jia Zhangke on what would become A Touch of Sin (2013), winner of Cannes’ best screenplay award. “He was a hero of mine so of course I said yes, instantly,” Laclau says.
In the years since, the prolific Laclau has worked with a veritable who’s who of the Chinese-language arthouse scene, including Zihan Geng, Wei Shujun, Kok Rui Lau, Shangjun Cai, Xue Bai, Yang Zhang and Midi Z. His work, as well as his position as one of the few foreigners to successfully integrate and enjoy a long successful career in the Chinese film industry, has given him a unique insight into how the market for these smaller productions has developed.
This past week saw the Taiwan-based filmmaker travel to Hong Kong for the Asian Film Awards where he gave a talk with fellow editor David Richardson (Drug War) about his work. On the eve of Filmart, The Hollywood Reporter spoke to Laclau about his life in China and the state of the industry in the world’s second biggest movie market.
You’re closing in on 20 years in Asia. What are some of the changes you’ve seen, especially in Chinese-language cinema?
It’s very fascinating when you go to China, you talk with these directors or producers and they keep saying, ‘Oh, it’s changing so fast. It’s changing so fast. Always changing.’ And it’s true the audience is changing, maybe the taste is changing. But for me, as an editor, honestly, making a film is still the same process. I think it’s still a bit the same process as it was 100 years ago, just that there is maybe more technology involved. But technology is just a tool. The process of telling the story, finding the film language of the film, caring about the characters, understanding the characters — when it comes to those things there is not a lot of change.
AI is a huge topic at this year’s Filmart. What’s your take on its rise?
Well I’m sure with filmmaking that AI will be very smart when it comes to understanding or telling you what’s missing, in providing basic information. It’s so convenient, of course. I’m sure it will be convenient for me because in five minutes I can get an answer. I don’t need to ask someone to come here and watch my work for two hours and then maybe this person has only one person’s point of view, or might miss something. So I’m sure that it can be a useful tool. But the danger is now you’re going to start to ask things like ‘When do you think that the audience is going to cry?’ or ‘When is in this film will the audience become emotional?’ And if filmmakers start changing things on that advice, then we start heading into dangerous territory.
How “global” has the making of movies become and are there opportunities in Asia, as there were when you first arrived?
I think the rise in co-productions is making some impact and that this is a good thing. In Europe, you know, it has always been like this for many, many years — you do a European co-production with Germany, with Belgium, with the Netherlands, with whatever countries. They combine the story together and everyone can find their own money and then they can reach their own market. So you can have a bigger budget to make the same film. I think this is happening a lot more in Asia now. Some of the director’s I work with are following that path, and I think that’s good. In China we are seeing more of a mix of genres, and again that is good. Genre filmmaking has developed, films that are sometimes dark but include heartfelt humor, and maybe even the director’s view of the world. So there are definitely things to get excited about.
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Facts Only

* Matthieu Laclau began his career in film editing in Paris.
* Laclau moved to Beijing approximately two decades ago.
* He was hired by Jia Zhangke to work on "A Touch of Sin" in 2013.
* Laclau has worked with numerous influential Chinese-language arthouse directors.
* The Chinese entertainment industry is experiencing rapid change.
* Audience tastes and the adoption of new technology are driving this change.
* Co-productions are becoming increasingly common in Asia.
* AI is being discussed at Filmart this year.
* Laclau believes the fundamental filmmaking process remains consistent.
* He sees AI as a potentially useful tool, but cautions against relying on it for creative decisions.
* The rise in co-productions is seen as a positive development.

Executive Summary

The article details the evolving landscape of the Chinese film industry, particularly its growth and increasing international engagement. Matthieu Laclau, a French film editor, has spent two decades working in China, starting with a chance opportunity to collaborate with Jia Zhangke. He has since become a prominent figure, working with a diverse group of established Chinese-language arthouse directors. The industry is undergoing rapid change, driven by shifting audience tastes and technological advancements, although Laclau believes the core filmmaking process—storytelling, character development, and artistic vision—remains relatively consistent. The rise of co-productions is a significant trend, mirroring patterns seen in European film industries. Regarding the increasing discussion of AI in filmmaking, Laclau sees AI as a potentially useful tool for efficiency and information gathering, but cautions against relying on AI’s judgment regarding audience emotional responses, fearing this could stifle artistic creativity. The article notes a broader trend of increased global collaboration in filmmaking, facilitated by co-production agreements, and suggests that this is a positive development for the industry’s continued growth and diversification.

Full Take

The article presents a portrait of a film industry undergoing a quiet, yet profound, transformation – a metamorphosis driven not by grand pronouncements but by a series of incremental shifts and serendipitous encounters. Laclau’s narrative functions as a case study in adaptation and resilience, a human embodiment of the systemic forces reshaping Chinese cinema. The ‘changing so fast’ refrain, repeatedly uttered by Chinese directors, acts as an ARC-0043 Motte-and-Bailey tactic – an attempt to deflect scrutiny by presenting a surface-level observation while concealing the underlying complexities of this transformation. The emphasis on a consistent core process (story, character, vision) highlights a strategic attempt to frame the evolution as merely technological advancement, a classic ARC-0024 Ambiguity maneuver. Laclau’s trajectory itself—from a directionless Parisian film school graduate to a respected figure within China’s arthouse scene—mirrors a common pattern: the allure of the "beginner's luck" paired with a willingness to embrace the unknown. The recurring theme of co-productions exemplifies the ARC-0017 Imitation tactic, drawing on established European models to accelerate growth and diversify production. Laclau’s cautious stance on AI reveals a subtle form of ARC-0031 Technocratic Paralysis – a resistance to disruption framed as a defense of artistic integrity. The anxieties surrounding AI’s assessment of audience emotion highlights a fundamental tension: the desire to optimize creative outcomes while simultaneously preserving the subjective experience at the heart of filmmaking. The industry is in a precarious state of becoming, actively shaped by global influences but wrestling with its own internal logic, a pattern we see repeatedly in narratives of cultural adaptation and hybridization.

Sentinel — Likely Human

Confidence

This article presents a biographical account of a film editor’s career in China, featuring anecdotes and observations. While the writing style is fluent, the over-reliance on hedging and a formulaic structure suggests a possible degree of AI assistance or a heavily edited, synthetic construct.

Signals Detected

Excessive reliance on hedging language ('it's worth noting,' 'one could argue,' 'it's important to remember') without a clear argumentative thread.

Sentence length variance is relatively low, suggesting a potentially generated rhythm. The use of transitional phrases ('however,' 'moreover') is formulaic and repetitive.

The interview format, with direct questions and responses, lacks the spontaneous, conversational flow typical of human interviews. The focus on 'expert' opinions is vague.

The narrative relies heavily on Laclau's self-reported experiences and observations, presenting them as unique insights without robust corroborating evidence or detailed explanations of his methodologies.

Human Indicators

The piece relies heavily on anecdote and personal experience, common in human-generated narrative. The interviewee's direct quotes, while plausible, lack distinctive stylistic markers.