Now, Chinese films have come to a delicate and predictable moment when most people are confused and a few people have a clear consciousness. This is what the author perceived and recognized through communication with peers in the industry when attending the film forum of Xiamen Golden Rooster Film Festival. As we all know, due to some complex factors, the ecological environment of China's film market seems not optimistic to many people at present. Every core link in the ecological industry chain, including investors, platforms, creators and even audiences, has changed a lot in the past three years. On the surface, these changes seem to tell us that films, and even their surrounding industries, are not a good business. But is that really the case? Not necessarily. Film is always an art category worthy of strict treatment by filmmakers. The ups and downs and changes of the film industry reflect a unique cultural atmosphere of the times, including the industry's external orientation and internal improvement. In the past decade, the Chinese film industry has experienced explosive growth, and the market and industry are discussing the birth of a "blue ocean". After nearly three years of turbulence, I believe that many people will reflect more or less. The reflection is not about the decline of the industry, but about one thing: what kind of works do we need to create to continue to attract audiences, and what kind of works do we need to enhance the attractiveness of the industry? Similarly, in the period of explosive growth of China's film industry, those who began to reflect and have a sense of crisis are "blessed", because they realized earlier than others that "the routine cannot be retained, and the truth moves people". But for those who try to fish in troubled waters and have a fixed idea, it is "disastrous" because they are the first to be eliminated when facing setbacks in any industry. Only when the overheated mind recovers, the filmmakers have the opportunity to think deeply and realize the importance and necessity of "cultural self-confidence" in this period. What "cultural confidence" shows to the outside world is the excitement and achievements of real development in all aspects of Chinese society reflected by contemporary Chinese films. It is not whether others will recognize it, but whether we will express it when these achievements are presented to the world in the form of "picture+language". Similarly, the "cultural confidence" shows the dynamic view of a hundred flowers blooming in the diversified, profound, ideological and cultural exchanges of contemporary Chinese films. These works need to be constantly created and improved by industry pioneers with a more open spirit, and continue to try to present works on different platforms, including cinemas. The important thing is not whether the audience will choose, It depends on whether we can express. Film culture and ideological creation will never be limited to the external environment. The real shackles will only come from the exhaustion of our own ideological sources and the internal obstacles that we dare not break through. When the film market seems to have unlimited prosperity, most people do not realize that this kind of "routine" operation, which is light on creation and heavy on type, will make the film, an art focusing on ideas and creation, cold. Now when the industry is facing a cold winter, filmmakers can think again: Is there only "cold" in the so-called cold winter? You know, at the first box office