Giả Linh chịu chỉ trích về ngoại hình dù phim thành công khủng

người làm nên thành công đằng sau "Hi, Mom" ​​và "Yolo" là một trong những đạo diễn nổi tiếng và là bảo chứng phim thành công bậc nhất trên thế giới. Nguyên nhân gì khiến mọi người vẫn bàn tán về cơ thể của Giả Linh?


Jia Ling should be on top of the world. “Yolo,” the actress (diễn viên) and director’s (đạo diễn) follow-up to her 2021 hit “Hi, Mom,” just dominated (thống trị) the Lunar New Year box office (phòng vé). She’s one of the most successful and bankable (tạo ra lợi nhuận) filmmakers working today. Even her choice to lose 110 pounds for her role in “Yolo,” though initially controversial (gây tranh cãi), has largely been hailed (ném đá, chỉ trích) by fan. 

In the span of five years, Jia had gone from unknown to a household name (cái tên quen thuộc), but her relentless (không ngừng nghỉ) performance schedule was taking a physical toll. Although she always had an average build (ngoại hình trung bình), she talked in a recent interview about feeling intense pressure to lose weight to better meet the industry’s expectations (kỳ vọng) for female on-camera talent. These diets played havoc (tàn phá) on her body, causing her to break out in rashes (mẩn đỏ) and experience other serious health problems.

Nevertheless, she continued to diet, but the pressure of her filming and touring obligations (nghĩa vụ) caused her weight to balloon. What came next was unexpected: Rather than cost Jia her career, her new figure made her more popular than ever.

Her chubbiness (mập mạp) and the lack of sexual appeal (gợi cảm) it implied gave her a particularly universal charm (duyên dáng)... That’s why, when she finally got the chance to star in a film of her own making, expectations were low despite her fame. The resulting film, “Hi, Mom,” benefitted from strong word-of-mouth (truyền miệng) reviews on its way to becoming a surprise hit, taking in billions at the box office. Her latest hit has received a similarly cold reception (tiếp nhận) in some corners, with critics complaining that Jia used her weight loss as a marketing gimmick (mánh lới).

It’s an unwinnable game, the rules of which are familiar to any woman. Gain weight, and no one takes you seriously. Lose weight, and you’re just making a play for attention. 

It’s a shame that so much of the discourse around Jia’s work centers around her figure. But I suppose it’s also fitting. She’s made two films that honor (tôn vinh) the diverse and nuanced lives (cuộc sống nhiều sắc thái) of contemporary Chinese women, and she did it by reclaiming what’s hers: her career, her story, and her body.

source: Sixth Tone,

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