Jianhao “Andy” An is at the forefront of a new generation of cinema producers, recognized for his distinctive creative instincts and strategic insight. His diverse portfolio critically acclaimed festival films and innovative shorts. Notably, Andy co-produced Love Is A Gun, which earned the Lion of the Future Award at the 2023 Venice Film Festival. His recent work on Dwelling by the West Lake garnered multiple nominations at the 2024 Asian Film Awards.
His latest film, The Botanist, continues that upward trajectory learning the Jury Award at the Berlin Film Festival, praised for its poignant exploration of memory, place, and belonging. In this exclusive interview, Andy shares the journey behind The Botanist, the challenges of independent production, and his evolving vision for the future of storytelling.
Congratulations on winning the Jury Award at the Berlin Film Festival! What was your initial reaction when you heard the news?
Thank you! Honestly, I was in a bit of a daze when I first heard it. When you’ve been so deeply immersed in a project, recognition like this can feel surreal. I think I just nodded silently for a good five seconds before it really sank in. Then, of course, came the celebration—because making a film is a marathon, and when you finally cross that finish line, it’s important to take a moment and enjoy it.
Jianhao “Andy” An, producer of The Botanist, at the Berlin Film Festival.
As an executive producer, what was your role in bringing The Botanist to life?
My responsibilities included securing resources, assembling the creative team, managing logistical challenges, and strategically positioning the film for international festivals. Independent productions always face challenges—tight budgets, compressed timelines, unforeseen obstacles—so a big part of my job was keeping everything on track and making sure the director’s vision remained uncompromised.
What drew you to this project? Why did you decide to back The Botanist?
From the moment I read the script, I knew it was something special. It wasn’t just another story about nature—it carried emotional weight and a timeless resonance. The way it explored memory, transformation, and our bond with the land struck a chord with me on a personal level.
What was the biggest challenge in getting the film made?
Definitely funding and shooting conditions. Convincing investors and partners to believe in a niche, poetic story is never easy. On top of that, production was logistically complex. Most of the crew had never been to that part of Xinjiang, which lacks a mature film production infrastructure. Shooting in such a remote and unfamiliar location meant navigating unpredictable conditions and problem-solving on the ground.
Your film explores themes of memory, change, and belonging. What made this story important to tell?
At its heart, The Botanist is about the passage of time—how landscapes evolve, how people transform, and how memory lingers in unexpected places. I’ve always believed that we don’t just inhabit a place; the place inhabits us, too. This story is deeply personal to me, but I think it speaks to anyone who has ever felt caught between their origins and their destination.
As a producer, how do you decide which projects to take on?
It’s a balance between instinct and strategy. First, the story has to move me—if I don’t feel something when I read it, I can’t expect an audience to. But beyond emotional connection, I assess feasibility: Is there a strong creative team? Is the financing model realistic? Can we build
a pathway for distribution? My role is to find the intersection where artistic ambition meets practical execution.
Looking ahead, what kind of films do you want to produce in the future?
I want to keep supporting projects that push boundaries—whether through distinctive narratives, bold visual language, or fresh cultural perspectives. I’m especially interested in films that blend art-house sensibilities with broader audience appeal. That said, I’m also drawn to emerging formats like VR. I recently watched some breathtaking shorts on Apple TV VR. We’re in an era where anyone can be a storyteller, and where format and platform are evolving rapidly. Cinema remains powerful, but it’s no longer the sole medium for telling meaningful, beautiful stories. I want to stay open to where those changes lead us.
Finally, if you had to describe The Botanist in one sentence, what would it be?
A quiet, meditative journey through nature, memory, and the unspoken ties that bind us to the landscapes we call home.
The Botanist is currently making waves on the international festival circuit, and we’re excited to see what lies ahead for executive producer Jianhao Andy An. With a growing slate of acclaimed projects and a fearless approach to storytelling, An is undoubtedly a force shaping the next generation of cinema.
Interviewed by Evan Rei
