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“听到沈腾以为是个喜剧本，结果哭着走出影院。”
People's Daily exclusively interviews director Wen Muye, deeply interpreting the anti-war core, Chinese cuisine metaphors, and creative intentions behind the brilliance of ordinary humanity in his new work "Welcome to Long Restaurant". 人 人民网Follow·
Today·1918 words (about 8 min)
AI Summary & Key Points
Summary
This article is published in the "Face to Face" column of People's Daily, where reporter Ren Shanshan exclusively interviews director Wen Muye for an in-depth dialogue surrounding the summer release "Welcome to Long Restaurant". Wen Muye explains the motivation behind turning the lens to a foreign battlefield: centering on a "family story", he explores war's consumption of ordinary people and the persistence of humanity through the fates of Chinese chef Xu Fu and the orphans. He details the dissection of "Chinese cuisine" as a cultural metaphor running through the film—from the reunion symbolized by the round table banquet to a bowl of braised rice amidst gunfire, food carries the simple view of happiness "eat well, raise children well" and cultural roots. The interview deeply analyzes character arcs: the contrast between Xu Fu and Zaid reveals how environment changes people, while the dialogue tension of "They are not your children" "They are children too" highlights the theme that saving others is saving oneself. Wen Muye insists on realistic creative methods, advocating that "the transmission of positive values must be sincere", rejecting floating narratives and pseudo-documentary texture, striving to express common humanity with Chinese culture, creating works that withstand the test of time.
Main Points
* 1. Using "family story" as the core, writing anti-war narrative from ordinary people's perspective.
Wen Muye converges the grand narrative of war onto the "special family" of Xu Fu and the orphans, conveying the warm core of "welcome home" through the detail of the chef protecting children with a spoon instead of a gun, showing the preciousness of peace and the persistence of humanity.
* 2. Chinese cuisine as a cultural metaphor, carrying the life philosophy of "eat well, raise children well".
From the cultural symbol of reunion at the round table to the braised rice made with local materials in the war, food strings together cultural identity, will to survive, and the director's mother's simple outlook on life, finally cementing kindness and story with "Xu Fu's Braised Rice" on the menu.
* 3. Rejecting the heroism mask, focusing on the complexity and innate kindness of ordinary people in extreme environments.
Xu Fu was once drawn into war by greed, Zaid turned to revenge after losing his daughter; environment shaped their complex facets. But facing children, empathy-driven self-sacrifice reveals the undimmed bottom color of humanity.
* 4. Insisting on "sincere" realistic creation: plots can be fictional, but character motivations must not be floating; not limited to specific wars, pointing to universal humanity.
Wen Muye advocates that a work must stand firm to spread far, rejecting the alienation of pseudo-documentaries and preachy main melody, dedicated to expressing cross-temporal common emotions with Chinese culture, pursuing work texture that withstands the review of time.
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人民网 2026-08-13 10:03 北京
!Image 3 
“听到沈腾以为是个喜剧本，结果哭着走出影院。”这是不少观众看完《欢迎来龙餐馆》的感受。
一个中国厨师，一家中餐馆，一场战争，一群孤儿……暑期档电影《欢迎来龙餐馆》，将镜头对准异国他乡的战场，对准被战争裹挟的普通人，对准命运“改写”的背后。自上映以来，影片票房和热度持续推高，大量观众在社交平台分享观后感。这部电影如何出炉，故事在表达什么？导演文牧野接受人民日报记者专访。
> 对话人：
> > > 文牧野（电影导演） > > > 任姗姗（人民日报记者）《欢迎来龙餐馆》剧照。片方供图
记者：你执导的电影《我不是药神》《奇迹·笨小孩》，主角都是普通人，讲述的都是此地的故事。《欢迎来龙餐馆》为何将镜头推进异域的战场？
文牧野：在一些新闻报道中，我看到饱受战争之苦的孩子。他们的面孔和经历深深刺痛了我，引发我思考战争与人的关系。今天的世界变乱交织，生活在和平中的我们要懂得珍惜，更不该忘记和平从何而来。
《欢迎来龙餐馆》本质上是一个家庭故事。徐福、马俊生以及赛夫等孤儿院的孩子们，组成了一个特殊的大家庭。历尽劫波，徐福一直如父亲般保护着赛夫和孩子们。龙餐馆是他们的营生，更是他们的“家”。20年后重返龙餐馆，看到赛夫背影的徐福为何会如此动容？不仅因为赛夫活着，更因为他拿的是勺子，而不是枪。所以，《欢迎来龙餐馆》的另一重含义是“欢迎回家”。
记者：反对战争、保护儿童的主题下，你如何找到中华美食这个小切口，使之成为贯穿全片、承载主题的一条线？
文牧野：我的妈妈有句话：“人生最重要的事不过两件，好好吃饭，好好养孩子。”这话朴素，但有大智慧。面对命运中的无常，作为普通人最容易做的，大概就是吃好每一顿饭、照顾好下一代。
再看我们的文化传统，美食往往代表幸福、和平与稳定。我们在家庭聚餐时偏爱用圆桌，因为“圆”代表着圆满、团圆、和谐。从世界范围来看，中餐也被视为代表性的中国文化符号。舌尖上的味道里，有中国人看待自身乃至世界的方式。
徐福只身漂泊异乡，马俊生是孤儿，美食成为维系他们和孩子们的纽带。徐福在龙餐馆做的第一顿饭是正宗中餐。最后一顿是烩饭，食材简单，炊具就地取材，唯一目的是让孩子们吃饱。此刻，食物回到最初的意义，徐福也找回自己的本心。故事结尾，这道“上不了台面”的烩饭，以“徐福烩饭”的名字被收进龙餐馆菜单。食物，不仅仅是食物，它的背后还有故事——一个中国厨师曾舍命救过异国的孩子。故事里有善意，有最朴素的人生观和幸福观。
记者：影片耐心讲述战争之下普通人的遭遇和感受。厨师、前台经理、战争遗孤、士兵，想妈妈、想结婚、想回家、想让生活过得更好……细腻且日常。故事里的人，最戳人心。
文牧野：其实我们大多数人都是普通人，没有谁是天生的英雄。我的三部电影《我不是药神》《奇迹·笨小孩》《欢迎来龙餐馆》，说了同一件事：环境会改变人，你所处的时代、你的家庭环境、你的阅历境遇，会左右你走向何方。
徐福和扎伊德曾经很像，但战场上没有侥幸。失去妻女的扎伊德，生命中只剩下复仇，他忘记了孩子们只是孩子；徐福心存侥幸，想借助战争发财，但也为此付出代价……“他们不是你的孩子”“那也是孩子”。这样的对话在影片中出现了两次，一次在马俊生与徐福之间，一次在徐福与扎伊德之间。这里的孩子，既指儿童，也指深陷战争中的每一个人。徐福救孩子，也是在救自己。
我希望《欢迎来龙餐馆》是以人为本的作品。环境固然可能让一个人变得复杂多面，但我相信人本性的善良和美好。在生死威胁面前瑟瑟发抖的普通人，也可以成为庇护孩子的“父亲”、舍己救人的英雄。徐福、马俊生对孩子们的关怀是出于同样为人的同理感，他们舍命救孩子是不由自主的行为。
记者：《欢迎来龙餐馆》采用现实主义的创作手法，如何把握真实与虚构的分寸？
文牧野：正向价值的传递必须真诚，不能虚假。作品唯有更现实，才可能立得住，传达出的能量才可能强烈。情节未必都是现实中存在的，但人物在片中的诉求不悬浮，观众才感到熟悉，看得进去；反之，拍得像纪录片一样真实，却与观众的生活距离很远，大家也会觉得不真实。这个故事设定在20年前，但我不想局限于某一场战争，观众可以理解为这是一个关于战争与人的故事，它可能发生在过去，也可能正在进行。
人物和故事，始终是电影的内核。任何时代，观众对于美好、正义和崇高的判断，不会有本质性区别，真诚的情感总是共通的。我为什么要拍电影？用我们的文化去表达这些共通的情感，让更多人产生共鸣；用电影的方式，讲述心灵的丰富性、人生的可能性，拍若干年后回看也不会有太多遗憾的作品，是我的小小诉求。 责编｜行家玮 编辑｜赵雯
来源｜《人民日报》（2026年08月13日 第 20 版），原标题《人物和故事，始终是电影的内核（面对面）——从电影〈欢迎来龙餐馆〉谈起》 阅读原文
Key Quotes
> Xu Fu saving the children is also saving himself.
> Only by being more realistic can a work stand firm, and only then can the energy it conveys be intense.
> There are only two most important things in life: eat well, raise children well.
> "They are not your children" "They are children too" — here, children refers not only to kids, but to everyone trapped in war.
> Using our culture to express these common emotions, letting more people resonate; using the way of film to tell the richness of the soul and the possibilities of life, shooting works that one won't regret looking back on years later, is my small aspiration.
Tags
Film & Television Culture
Movie
Director Interview
Wen Muye
Welcome to Long Restaurant
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