Hong Kong artist Feng De Lun recently spoke with Taiwanese media regarding his role in the film “The Fourth Act,” where he portrays a middle-aged man struggling with a creative block. During the interview, when he was asked if he has experienced a midlife crisis, he humorously replied, “Am I already past middle age at 52, heading into old age?” Feng expressed that he does not feel the effects of a midlife crisis at all. Instead, what troubles him more is the thought of becoming an old person who incessantly lectures younger generations.
Feng De Lun emphasized that he still retains a strong sense of curiosity. Aside from his work in film, he has a keen interest in anime and other new forms of entertainment. He often collaborates and exchanges ideas with younger colleagues, believing that he shares many interests with the younger generation. Even if they are exposed to different works at different times, they still find common topics of discussion, which helps bridge any generational gaps.
When it comes to sharing advice with younger individuals who seek his guidance on life’s challenges, Feng humorously noted that as he ages, he has noticed older mentors tend to repeat their past stories. He pointed out that younger folks might have to pretend to listen attentively, even after hearing the same tales hundreds of times. To combat this, he remains vigilant against becoming that kind of repetitive figure. Whenever he senses himself starting to ramble on or lecture others, he promptly puts a stop to it.
In “The Fourth Act,” Feng plays a middle-aged director grappling with a creative slump, and the production team was particularly drawn to his disheveled look marked by gray facial hair. He mentioned that during his younger years, he often portrayed police officers, college students, or romantic leads. Now, however, the team appreciates his white-bearded appearance, which conveys a sense of weariness that fits his character perfectly. Feng feels that with age inevitably comes the markers of time on one’s face, and he sees this as part of the character’s charm.
Despite maintaining a youthful mindset, Feng admitted that he sustained a shoulder injury while filming an action sequence that involved a high fall, leading him to undergo physical therapy for over six months. He joked, “When I was younger, I could handle action scenes with ease, but of course, now that I’m in middle age, I’m facing these body issues.”
His impressive performance in “The Fourth Act” has caught the attention of several film critics and the executive director of the Golden Horse Awards, who mentioned him as a notable candidate for the title of “Best Actor.” Feng graciously responded, “Although it’s a bit regrettable not to be nominated, being recognized and mentioned by the Golden Horse is, for me, a rewarding bonus.”
Shu Qi, in a deep interview, sweetly described her marriage with Feng De Lun as being like “two children who never grow up.” Having known each other for over two decades, they share a profound understanding and mature consensus, which, despite not having children, allows their relationship to thrive in a carefree and unpressured atmosphere, ultimately making their bond even stronger.
While their outlook might resemble that of children, Shu Qi noted that their daily life could be seen as an “endless competition.” The couple secretly vies with each other in their professional lives, while in their personal time, they enjoy teasing and poking fun at one another. For instance, Shu Qi humorously recounted on a show that when they first met, she was not impressed by Feng because her co-stars were the likes of Andy Lau and Takeshi Kaneshiro, considering Feng to be “not good-looking enough.”
It is precisely this relaxed dynamic that allows Shu Qi and Feng De Lun to refrain from the need to present themselves as perfect adults before one another. Instead, they feel free to embrace their most childish and genuine selves. This aligns perfectly with Feng’s own perspective of being endlessly curious about anime and new technologies while feeling unaffected by midlife crises.