Chapter 221: Immersion

Chapter 221: Chapter 221: Immersion

The film unfolded slowly.

Toula stood on the dining table of her big, loud Greek family, facing the cacophony of marriage urgings and teasing from her huge family. She shrank her neck, whispering but firmly stating her dream of going to college and becoming a lawyer.

With a "bang," Toula on the screen was scolded by her family elders, and that suffocating yet heartwarming atmosphere instantly washed over the audience.

Several young audience members in the back row couldn’t help but laugh out loud. Someone quietly wiped the corner of their eye. It wasn’t mockery, but rather the helplessness and warmth of being touched by such terrifyingly realistic family daily life.

As the plot progressed, Toula’s first date, her first attempt to change her look, and using a college computer class as an excuse to date Ian behind her parents’ backs... every scene precisely hit the emotional chords of the audience.

When Ian said that their different backgrounds couldn’t be an obstacle, and the two kissed in the night, the sincere expression not only moved Toula but also infected everyone watching the film, and everyone couldn’t help but show a blessing smile.

When Toula brought Ian to a family gathering and everyone crowded around Ian, kissing their son-in-law, the whole theater erupted in loud laughter again. Hidden in this laughter was affection, resonance, and sympathy and love for this ordinary girl.

When Toula heard her parents’ discussion late at night, and the next day ran to find Ian, crying and saying they might not be able to get married, many audience members felt their hearts ache just like hers.

When Ian made up his mind to integrate into this big family to marry Toula, causing many funny situations, the audience also smiled knowingly.

The film did not deliberately try to be sentimental but used the simplest shots to record the trivialities and happiness of life.

This is life, and this is them.

The most wonderful scene took place at Toula’s wedding.

Family members joined in together, singing hymns in Greek, and everyone was singing and dancing, the scene so lively it almost spilled off the screen.

But amidst this liveliness, Toula stood in the middle, looking at her family beside her, her eyes filled with relief, satisfaction, and letting go of the past.

At this moment, the theater erupted in warm applause, and someone even whistled.

When the final scene of the film fell and the subtle credits appeared on the screen, the theater was quiet for a full ten seconds.

Subsequently, thunderous applause resounded throughout the theater.

The first to applaud were the group of critics who had been frowning and taking notes earlier. They looked at each other, the suspicion and coldness in their eyes long gone, replaced by shock and recognition.

An old critic closed his notebook, nodded gently, and muttered: "Wonderful, simply wonderful. This is the true movie about ordinary people."

Another young critic excitedly wrote in his notebook: "A delightful surprise. Atypical family, atypical narrative, hitting the softest part of the human heart in the most ordinary way."

They, who had not been optimistic about the film, were completely convinced during these two hours of laughter and tears.

They knew clearly that this film had no big scenes, no big special effects, and no star-studded cast, yet it used the most real and warmest power to let everyone see their own lives in it.

Bobby and Tommy were already crying messily.

Tommy wiped his face with his sleeve, choking up: "Sis, this movie... is really good."

Bobby nodded, her voice tearful but incomparably firm: "Yeah, really good."

Irene, under the signal of the staff, led the main creative team of the film, including screenwriter and lead actress Nia Vardalos, lead actor John Corbett, and several "non-professional actors" who played the Greek family members, onto the small stage in front of the screen.

There were no gorgeous stage decorations, only a spotlight shining on them, yet it made the eyes of the entire theater become exceptionally intense.

Irene took the microphone, her fingertips gently rubbing against it, a gentle smile on her face. After the applause subsided slightly, she spoke: "First of all, I want to especially thank Nia Vardalos."

She turned to look at Nia beside her, her eyes full of sincerity: "It was she who handed this story full of the breath of life to me, willing to trust me, a director who had only shot youth comedies before, giving me the opportunity to touch such ordinary warmth.

In the process of preparing and filming this movie, I actually learned a lot. We are always chasing those plots full of drama and exaggerated expressions, but often ignore the power of life itself.

The nagging at the dining table, the care within the family, the mutual support in difficulties—these ordinary happinesses are the most precious and the most soothing things to the human heart."

As her voice fell, warm applause rang out again from the audience. Nia, with red eyes, gently hugged Irene.

"I also want to thank my good friends." Irene’s gaze swept across Britney, Edward, Henry, and Keira in the middle seats, her smile becoming even softer, "Thank you all for being willing to come in your busy schedules. Without your support, this simple premiere would not be so complete."

Britney immediately raised her hand and made a "heart" shape at the stage, causing a burst of light laughter from the audience.

Reporters could no longer hold back and passed microphones to the front row: "Irene, many people are curious. Your previous works were all commercial films. Why did you suddenly choose a small-budget family comedy with an investment of only 5 million?"

"Just as I said just now, because of the warmth." Irene answered without hesitation, "I want to shoot a movie that can make everyone laugh and feel the power of family. It doesn’t need to be earth-shattering.

As long as it can make the audience feel a little more warmth in their hearts when they walk out of the theater, that’s enough. Moreover, I have always believed that good stories do not distinguish between cost sizes. Ordinary stories can also have huge energy."

Another reporter turned the microphone to Nia: "As the screenwriter and lead actress, what did you most want to convey when creating this story?"

Nia wiped the corner of her eye, her voice choked but exceptionally firm: "It is acceptance. Accepting one’s own background, accepting the imperfections of family, and also accepting the ordinariness of life.

Toula’s story actually has my shadow. I hope every ordinary person can see themselves in her. Even if life is full of trivialities and difficulties, as long as there is love and family, there is the courage to move forward."

Someone saw Henry Cavill sitting in the audience and turned to ask him: "As one of the leads of Pirates of the Caribbean, what do you think is the difference between Irene in this movie and when she shoots big commercial blockbusters?"

Henry took the microphone and stood up: "Whether it’s a big commercial blockbuster or a small-budget comedy, Irene’s core is the same: respect the story, respect the actors.

When shooting Pirates of the Caribbean, she pursued ultimate visuals and adventure. While in this movie, she focused more on the truthful transmission of emotions.

She can always precisely grasp the most moving parts of the story and can also make every actor bring out their best state. I admire her very much and look forward to more cooperation in the future."

The post-screening interview ended in a warm and enthusiastic atmosphere, and the reporters put away their notebooks and cameras, their faces full of approval.

They knew clearly in their hearts that this small-budget film, which they had initially looked down upon, might once again create a miracle in Irene’s hands.