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

A |     　　2026年，AI Agent不再只是待在对话框里回答问题，它开始真正走进电脑桌面，替你“动手干活”了。　　据易观分析数据，6月份国内17款主流桌面端AI原生办公智能体月度总访问量突破6000万次，而3月这一数字仅为2000万次；IDC数据则显示，2025年中国企业级AI智能体市场规模约为212亿元，预计2026年增至449亿元，到2029年有望突破3320亿元。    

    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 | 　　腾讯、阿里、字节三家互联网巨头也在半年内完成了从产品试水到组织架构的全线调整。目前来看，腾讯WorkBuddy先发领跑，阿里“千问办公”整合提速，字节则将豆包推至台前，今日推出AI办公产品“豆包工作”。　　单纯卷模型参数的时代正在翻篇，AI办公的“入口”和“商业化”比拼已经全面开打。　　▎三强争霸：腾讯领跑，阿里提速，字节“急了”　　半年前，互联网大厂们还在用“赛马”机制各自铺开多款产品试方向，腾讯内部同时跑着QClaw、WorkBuddy、CodeBuddy等产品，阿里并行推进QoderWork、悟空、MuleRun，字节也有TRAE IDE、TRAE Work等多条产品线。　　面对一个尚未定型的新赛道，早期各家用赛马机制分散押注无可厚非，毕竟用户到底需要什么样的办公智能体，谁也没有答案。但需求端的爆发速度，显然超出了所有人的预期。　　腾讯是这场竞赛中跑得最早、也是目前跑得最好的一家，3月WorkBuddy正式上线，定位为“全场景AI办公工作台”，马化腾在财报中称其为“中国使用最广的效率AI智能体服务”。数据显示，腾讯WorkBuddy在6月已以2097万次月访问量位居第一，超过第二、第三名之和；7月，WorkBuddy又以1115.23万月活跃用户总量位列AI办公智能体总榜榜首。　　产品层面，WorkBuddy支持混元、DeepSeek、GLM、Kimi、MiniMax五大主流大模型自由切换，内置超20种技能包。生态层面，WorkBuddy接入了腾讯文档、腾讯会议、企业微信等腾讯系产品。　　可以看到，腾讯现有的生态体系为WorkBuddy提供了现成的落地场景，无需从零搭建办公环境，而是直接嵌入用户已有的工作流中，降低用户学习成本和迁移成本。

C | 这也是WorkBuddy能够在半年内快速获取用户、建立先发优势的原因之一。　　值得关注的是，第二季度腾讯资本开支高达527.8亿元，同比增长176%，环比增长65%，远超市场预期的321亿元。资金投向上，腾讯管理层给出了明确的优先级排序：首要用途是训练更大、性能更强的混元系列大模型，其次是为WorkBuddy提供推理算力。　　阿里则是用最短的时间，快速完成了最大规模的整合。此前，阿里的QoderWork、悟空、MuleRun三款产品分属不同团队、不同定位，各自为战。8月3日，“千问办公”正式开启公测。

D | 阿里将三款产品全面整合为“千问办公”，成为业内首款同时支持桌面端Agent、云端Agent、企业协同Agent的产品。　　阿里的战略定位非常清晰：并没有在个人桌面端与WorkBuddy贴身肉搏，而是主攻企业级市场，面向组织而非个人用户。支撑这一战略的是阿里独有的“四件套”——上有Qwen模型，中有阿里云、百炼，下有钉钉沉淀多年的组织关系、消息、文档、流程等。据悉，钉钉2025年营收超过40亿元，在制造、政务、教育等领域积累的企业客户资源，也可作为千问办公的拓展基础。　　腾讯抢先占位、阿里快速整合，双重压力之下，字节也开始提速。

E | 7月30日，字节跳动将飞书产品团队并入豆包产品团队，飞书负责人谢欣向豆包负责人赵祺汇报；8月6日全员会上，CEO梁汝波也明确将战略聚焦于AI、信息平台和交易服务三项核心业务，希望豆包成为一项“主干”AI业务。　　值得一提的是，8月24日，字节跳动完成了最关键的一步，将TRAE、扣子（Coze）团队整体并入豆包体系。其中，TRAE Work、扣子将与豆包在工作场景的产品能力进行融合；TRAE IDE及CLI则作为豆包品牌下的编程产品线持续发展。相关产品和运营团队统一向豆包产品负责人赵祺汇报。　　据了解，豆包今日推出独立的AI办公产品“豆包工作”，作为字节面向AI办公场景的统一产品及品牌。与飞书深度打通，是豆包工作的核心差异。

F | 用户用飞书账号登录后，可在权限范围内调用飞书中沉淀的聊天记录、文档、会议纪要、日程等信息，基于真实企业上下文完成任务。用户与豆包工作共同创作的内容和知识也会沉淀回飞书，成为可二次编辑、分享和复用的企业知识资产。发布后，飞书内原豆包企业版入口已同步升级为豆包工作。

G | 　　至此，三家在AI办公赛道的布局轮廓都已清晰：腾讯以“先发优势+生态连接”抢占入口，阿里以“企业级+全链路”深耕B端，字节则以“场景融合+流量底座”后发追赶。　　▎资本为何集体押注？从“卷模型”到“卷商业化”　　三大厂不约而同押注桌面办公Agent，背后是资本对确定性赛道的重注。8月23日阿里巴巴800亿港元的配售融资，也将AI装备竞赛推向了新的高潮。　　8月23日晚间，阿里巴巴宣布以每股112.70港元配售7.1亿股新股，募资总额800亿港元（约102亿美元），配售所得款项净额将100%用于投资全栈AI能力，加强AI基础设施建设；腾讯二季度资本开支527.8亿元，同比增长176%；字节方面，今年5月将2026年资本开支从1600亿元提高到2000亿元，有消息称字节正讨论将资本开支提高到最高700亿美元。　　兴业证券研报认为，AI办公市场广阔，应用场景丰富，有望成为下一个大规模落地的AI应用方向。

H | 办公场景高使用频次、高粘性、高付费意愿，市场空间广阔，有望成为继AI Coding之后AI大规模落地的应用方向。　　IDC数据显示，2025年中国企业级AI智能体市场规模约为212亿元，预计2026年增至449亿元，到2029年有望突破3320亿元；IDC进一步预测，到2031年中国活跃企业智能体数量将达到3.5亿个。赛迪顾问数据显示，政务、制造、能源、金融四大行业的智能体市场份额合计超过70%。　　但从企业采纳阶段看，IDC调研发现当前仍有60%的中国企业处于了解评估和试点智能体阶段，仅有18%的中国企业将智能体纳入了核心业务流。这也意味着，市场远未饱和，增长空间巨大。　　目前来看，AI办公的商业模式正在加速跑通，AI办公进入实质性付费阶段。

I | 业内人士向《科创板日报》记者表示，国内市场对AI办公的接受度正在从“尝鲜”转向“常态使用”，企业开始为实际效果买单，“从实际工作来看，WorkBuddy、千问办公等办公智能体不再仅停留在功能演示层面，而是已经真正进入了工作流，开始承担具体的交付任务。”　　8月10日，千问App显示，千问办公助理针对专业用户推出了收费服务，套餐共分旗舰、精英、高级三档。其中旗舰套餐月付价128元/月、年付价1499元/年，可提升至20倍额度；精英套餐月付价49元/月、年付价568元/年，可提升至5倍额度；高级套餐19元/月、年付价200元/年，可提升至2倍额度。　　《科创板日报》记者注意到，WorkBuddy则采用积分计费模式，免费版每月赠送500基础积分，付费档位分为99元、199元、999元三档。腾讯在二季度财报中还专门提到，WorkBuddy用户通过订阅和充值购买Token的付费意愿较强。　　半年时间，腾讯、阿里、字节完成了从赛马到整合的全部动作。但产品上线只是起点，真正的考验还在后面，谁会率先跑通“模型+场景+生态”的闭环，谁又能把用户留在自己的桌面入口里？《科创板日报》将持续关注。（文章来源：财联社）。

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