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Director Wen Muye speaks on latest anti-war movie_我的网站

A |       近日，卫龙美味发布港股上市公司2026年半年报。报告显示，上半年公司实现营业收入37.15亿元人民币，同比增长6.7%；净利润7.66亿元人民币，同比增长4.0%。分品类来看，调味面制品（辣条等）收入11.81亿元人民币，同比下降9.8%；蔬菜制品（魔芋爽等）收入24.4亿元人民币，同比增长15.8%。    

    A still from the movie Once Upon a Time in the Middle East starring Shen Teng Photo: ICYears after tackling social issues in the breakout hit film Dying to Survive, Chinese director Wen Muye returns with Once Upon a Time in the Middle East. The film opened nationwide in China on Tuesday, and, including advanced screenings, crossed 200 million yuan ($29.6 million) at the box office on its first day. 
It centers on an ordinary Chinese chef caught in the crossfire of war. Shen Teng stars as Xu Fu, a cook who travels to the fictional Middle Eastern capital of Bahata to repay family debts. There he joins forces with restaurant manager Ma Junsheng (actor Jiang Qiming) to run a Chinese eatery. When conflict erupts, the self-preserving every-man endures personal losses and gradually comes to protect local children. 
Produced by Ning Hao, the film continues Wen's signature focus on "little people," this time placing them far beyond China's borders.
In an interview with the Global Times, Wen talked about the project's connection to news reports of Chinese migrants who open restaurants overseas and forge quiet connections through food.
"Many Chinese people go abroad simply to make a living," he told the Global Times. "They open restaurants, use food to break down regional barriers, and form deep bonds with locals." 
The production team conducted extensive research and location scouting in the Middle East to capture everyday details. Elements such as free-running single-humped camels required overseas shoots; the resulting images of open space after confinement, Wen noted, carry a simple sense of hope.
Food functions as the film's central motif. 
"Food more often stands for happiness and peace," Wen explained. "Even in a war-torn environment, people still cannot do without three meals a day. That sounds basic, but after all the big things in life, what people care about most are the simplest things - eating a proper meal and taking care of family." 
A specialized food unit developed the dishes, and Shen trained extensively so that most of the wok-tossing sequences were performed by the actor himself, Wen said.
The film deliberately intercuts kitchen routines with combat sequences. 
"Three meals a day represent our longing for peaceful life, while war is the extreme act that destroys peaceful life on a large scale," Wen said. "When they collide, each becomes clearer: Food feels more ordered and full of happiness; war feels more chaotic and dark." 
He hopes the juxtaposition helps audiences recognize how hard-won ordinary peace really is.
Xu Fu's decision to shelter orphans never relies on lofty rhetoric, only a meal and a roof. Wen described this approach as rooted in a human-centered outlook rather than classic Western hero narratives. 
"We place more weight on humanism and the value of a person's existence. Our culture is about living well, studying well, eating well, and looking after children. No matter how large the events, three meals a day remain unavoidable. Food itself has warmth and can give people real strength when they are in a difficult situation," Wen said. 
The director noted that he wants viewers to leave with the plainest conviction: live properly, eat properly, and cherish the peace that exists in the present.
On balancing personal expression with commercial reach, Wen kept his principle simple: "Make the film well and tell the story well. I try to put what I want to express into foreshadowing and details without hurting the viewing experience. If audiences notice those details, I will be glad. If they do not, it does not affect the normal narrative."
From Dying to Survive and Miracle: Stupid Kid to the new film, Wen's view of human complexity has remained consistent. "People have many different sides. They face different circumstances and make different choices." 
The through-line, he added, is the same plain belief: "Being able to enjoy a proper meal is the greatest happiness."
Early audience response has been overwhelmingly positive. Advanced screenings delivered scores of 9.7-9.8 on major Chinese platforms including ticketing platform Maoyan. 
Many entered expecting a light Shen Teng comedy and left in tears, describing the experience as "laughing then crying." Shen's restrained performance has drawn particular praise, with some calling it the strongest of his career. Jiang's supporting work has also been widely noted.
Moviegoers have frequently highlighted the film's refusal to deliver speeches. Its focus on daily meals and small acts of care lands more powerfully than any slogan. 
On the depiction of the conflict, audiences observe that the movie offers a perspective that "flips the Hollywood script" by casting the US as the invader, while refusing to portray US soldiers as pure villains. Instead they appear as ordinary young men: loose in discipline and marked by the alienation of war.
Both Chinese and overseas viewers have singled out this measured approach as part of the film's distinctive Chinese viewpoint: It sidesteps both Western hero narratives and simple demonization. Some international comments note that by staying with ordinary lives rather than choosing geopolitical sides, the story offers a different lens on conflict.
One widely circulated comment from a popular Chinese self-media account on WeChat captured the film's ambition: "You can think of this film as a blend of Casablanca, Schindler's List, and The Shawshank Redemption, yet at its core lies the same grounded human compassion found in Dying to Survive. This is a highly successful attempt by Chinese filmmakers to surpass Hollywood. It is the first Chinese film that truly possesses a global vision and a professional sense of international storytelling. It is also a gift of warmth and goodwill from the Chinese people to a world still torn by war and cruelty."
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B |   从数据上看，卫龙确实在经历产业结构的变化。辣条这个曾经撑起品牌大半江山的品类，正在被魔芋制品超越。

C | 但这并非卫龙独有的现象。跳出卫龙看整个消费行业，类似的“第二曲线竞赛”正在多个赛道同时上演。  魔芋的消费场景正在被重新定义  据新华网发布的《我国魔芋食品产业发展的观察与研究》报告，2024年我国魔芋产业总产值已达320亿元，预计2030年将突破450亿元。其中魔芋零食作为新兴细分品类，从2014年几乎为零的市场，到2025年突破300亿元规模。

D |   魔芋零食的增长并非偶然。

E | 《中国食物与营养发展纲要（2025—2030年）》明确提出加大魔芋等富含膳食纤维的特色食物供给。低热量、高纤维的天然优势，让魔芋完美契合了消费升级的趋势。艺恩2025年10月发布的《零食行业消费趋势洞察》显示，健康零食已成为核心增长引擎，2024年市场规模达8200亿元，2025年预计突破9500亿元，增速是整体零食市场的1.9倍。  与此同时，中国零食行业正经历“从数量扩张到素质提高”“从能量供给到复合需求”的双重转变。传统以膨化、糖果为主的零食增速放缓，市场陷入存量博弈；而以辣味、健康化为代表的新兴赛道正迸发出远超行业的活力。  魔芋食品的消费已从“单一场景、小众人群”转向“多元场景、广泛人群”，呈现“健康化、年轻化、便捷化”特征。在火锅、麻辣烫等传统餐饮渠道之外，办公室零食、下午茶、代餐、运动补给等新兴场景正在崛起。  卫龙的变化：从“辣条”到“辣味休闲零食”  在这样的产业背景下，再看卫龙的变化，逻辑就清晰了。  卫龙以辣条建立了鲜明的品牌认知——这是它无法也不应抛弃的资产。调味面制品仍是其重要业务板块，2026年上半年11.8亿元的收入放在任何一个休闲食品品类里都不是小数目。据券商监测数据，卫龙在辣条品类的市场份额约达28%。  但卫龙同时在做另一件事：把辣条积累的品牌势能、渠道能力和供应链经验，平移到了魔芋这个新品类上。2014年，卫龙推出魔芋爽，将魔芋从火锅配菜变成开袋即食零食的品牌。十年后，以魔芋爽为代表的菜制品年销售额超30亿元，卫龙以超六成的市场占有率稳居魔芋零食赛道前列。  从辣条到魔芋爽，卫龙没有离开“辣味”这个最核心的消费者认知，而是在这一基础上不断扩展品类。辣味零食是一个比辣条大得多的赛道——它包含辣条，但不局限于辣条。卫龙的成长，本质上是从“辣条”这个小细分走向了“辣味休闲零食”这个大细分。  《报告》将卫龙魔芋爽称为“观察中国零食产业如何顺应消费趋势、实现价值升级的行业样本”。这个描述同样适用于卫龙的整个产品矩阵——从辣条到魔芋爽，卫龙用二十年的时间，完成了从单一爆品到多品类布局的进化。

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