The Cannes Film Festival starts each year with the jury fielding media questions. This is usually the festival's most disjointed press conference, partly because most people present haven't yet seen the films in competition, and also because it's a free-for-all for journalists trying to needle compatriots on the jury about issues specific to their own country. That's what happened on Wednesday to producer Nansun Shi and director Johnnie To Kei-fung (second left and far right with fellow jury members Robert De Niro and Mahamat Saleh Haroun). The first question directed at them pointed out that there were no Chinese-language films in competition, and whether this indicated the state of Chinese-language cinema today. Shi, said it wasn't necessarily a sign of the standard of films being produced, and that 'Chinese films were very present in the international scene and in festivals'. Someone then asked whether the absence reflected the over-commercialisation of Chinese cinema. Shi said the mainland industry 'only started to develop and grow [in] 2003, and before that a lot of Chinese filmmakers made artistic films or what we call propaganda films'. There's nothing wrong with commercialisation, she continued, and it's fine if 'some are here to sell films, and some are here to make artistic statements'. Unexpectedly, the conference's star wasn't jury president De Niro, or Jude Law or Uma Thurman. The most articulate juror was Linn Ullman, writer-daughter of Ingmar Bergman and Liv Ullman. She reflected on issues from the need for films to be political to anecdotes of the 'film education' her father gave her, who took her to movies while on holidays in Norway as he didn't ski.