“The Shanghai International Film Festival Is Set to Launch ITS 27th Edition in Grand Style, Commemocrating 120 Years of Chinese Cinema with Conversations. ALMOST FROM The Moment Movie Cameras First Started Whirming in China, Filmmakers have Flapped to Shanghai. Although Beijing Boasts The Country’s”, – WRITE: www.hollywoodReporter.com
ALMOST FROM The Moment Movie Cameras First Started Whirming in China, Filmmakers have Flapped to Shanghai. Although Beijing Boasts The Country’s First Film (1905’s The Battle of Dingjunshan), Shanghai Undeniably Remains the Heart of China’s Culture Industries. The Country’s First Major Film Studios Emerged in this Sprawling Metropolis in the 1920s, and Its Cinematic Passion Remains Palpable. There are cinemas everywhere-AROUND 400 in the City Alone-and Each Year The Public Flocks to this Landmark 10-Day Event.
Running June 13-22, Siff Will Screen More More 400 Films Across Approximately 1,500 Showings, and The Enthusiasm from Audiences have Immediate. Chen Guo, Managing Director of the Festival’s Organization Body, Shanghai International Film & TV Events Center, Tells The Hollywood Reporter“Ninety-Two Films and Over 600 Screenings Were Sold Out with WitHin and Hour of Tickets Going on Sale on June 5.”
The Golden Goblet Competitions Feature 49 Films Across Five Categories, With 12 Films Competing in the Main Category. As USUAL, The LINEUP BOASS A STRONG LOCAL PREESENCE (INCLUDING Multi-Award Winner Cao Baoping’s One Wacky Summer), As Well As Features from Afar afield as Kyrgyzstan (Aktan Arym Kubat’s Black Red Yellow) and Brazil (Flavia Castro’s Cyclone).
Other Highlights Include the Asian New Talent Section, Historical A Launchpad for Filmmakers of Future Accalaim, Such As China’s Ning Hao and Tibet’s Pema Tseeden, and A Davi. Eraserhead, Lost Highwayand Mulholland Drive -Reportedly the Festival’s Second-Fastst Selout.
Of Course, there will be no escaping the swirling uncertainties surrounding the Contemporary Film Business. The Industry Sidebar SIFF FORUM HAS A SERIES OF PANELS TACKLING HOT-BUTTON Issues Like Artificial Intelligence’s Role in Filmmaking. Additionally, The Event’s International Film Market Will Merge with the Shanghai TV Market for the First Time, Running June 21-25.
Thr Sat Down with Chen on the Eve of the Festival to Discussion The Vision and Ambition for this Year’s Edition.
How was Siff Evolved Recently, and What Is Its Current Role Within China and Internation?
Siff Has Become An Important Festival in Asia and Even Globally. Film have always been an Important medium for Cultural Exchange, SO as A Significant International Film Festival, Siff Has Persified in Using Film As A Link to Muting Film Cultures Across Various Countries, Ethnic Groups and Regions. This Year’s Golden Goblet Awards of Jury Conises of 21 Jurors From 13 Countries and Regions Across Asia, Africa, The American and Europe. The Wide Distribution of Countries and Regions Fairly RepreSents of the Diverse Landscape of Global Film Cultures, and We Have Striven to make the Jury Process More Globly. Chinese Cinema Has Gone Through A Glorious Journy of 120 Years Since ITS BIRTH IN 1905. STANDING AT THIS IMPORTANT HISTORICAL MARK, FILMMMAKERS HAVE MANY Issues. Therefore, thee year’s Film Festival Further Aggregate Industry Forces, Expand Partners, and Centralally Demonstration the positive momentum of the Industry.
What Excites You Mist About This Year’s Festival?
While Our Programming Teams Have Deep Resept for the Century-Long Journey of Chinese Cinema, What Excites Me Even More at This Festival Is SIFRACING-FORIFOCING INTIOCING Program and the Strong Momentum Building for Chinese-Language Films. I AM ALSO PAYING CLESE TO THE SYNERGY BETWEEN Technology and Creativity. This Year, The Festival Has Establissed a Dedicated Forum on the Application of Aigc in the Film and Television Industry, Bringing Together Innovative Creates from Amerde. This Initiative Nota Only Responds to the Industry’s Strong Interest in New Technologies But Also Underscores Siff’s Proactive and Insightful Role In Shaping The Future of the Film ECosystem.
‘One Wacky Summer’ CourTesy of Shanghai International Film Festival
There Looks to be some Exciting Emerging Chinese Talent on Display this Year. What can you share about the Contemporary Scene and the Opportunities for this Generation of Filmmakers in China Today?
I FIRMLY BELIEVE THAT TODAY’S GENERATION OF EMERGING CHINESE FILMMAKERS IS EXPERIENCING an unprecedated Golden Era. SIFF POSITIONS ITSELF AS “Rootted in Asia, Focussing on Chinese-Language Films, and Supporting New Talents,” Adhering to the Philosophy of Being Leading, Professional and International. An Important Manifestation of Our Professional Leadership is the Cultivation and Incubation of Professional Talents. We are seeing Young Filmmakers Enjoying Greater Freedom When Its to Choosing Themes and Adepting Perspectives That Are Both Socially Conscioses and Deeply Personal. This is thanking and growing diversification of the Overall Industry Environment. An example is the siff Project Industry Sidebar’s New “Genre Film Project”, WHICH is set to encourage Young Filmmakers to Innovate Witch Works, Ensuring. Market viability. Meanwhile, Cutting-Edge Technologies Like Aigc Are IncreASINGly Embrated by Young Creates-Not As Gimmmicks But As Tools to Explore New Frontiers of Cinematic Expression. Through Dedicated Forums and Program Units, Siff Actively Promotes this Integration, and I Am Confident in Their Creative Potential With New Media Languages.
Can You Share Some Tips on What We Shold Be Watching in Shanghai Over The Coming 10 Days?
It’s Hard to Choose, But I Suggest That Everyone Can Focus on Three Chinese-Language Films Shortlisted for the main competitions. QIU SHENG, DIRECTOR OF My Father’s SonReturns After Winning The Best Live-Action Short Film Award at the 24th Siff With His Sci-Fi Short Song of Life. Cao Baoping, Director of One Wacky Summeris a former Winner Under Our Asian New Talent Section[2015’s[2015’sThe Dead end]and was also the jury president for that genu last year. The Other Film i’d Like to Point People Towards is Wild Nights, Tamed BeastsWHICH is the debut Feature Film of Director Wang Tong. TheSE Directors Are All Chinese Filmmakers We Have Long Paid Attention to, and We Also Hope That International Audence and Media Can Give Them More Attraction.
How is the Festival Addressing the Current Challenges Facing The Chinese Film Industry?
With The Global Heat of Ne zha 2Chinese Cinema in 2025 Kicked Off With A Remarkable Start. However, Chinese Filmmakers have Much to Ponder. That’s WHY We have set up the Golden Goblet Forum to Gater Industry Wisdom Every Year and to Discusses Important Transformations in the Development of The FODIRY. Thought to filmmakers. Film is no long just a form of art; IT is becoming a new Engine to promote consumption and Drive Economic Growth. Thus, Like The Siff Itelf, The Golden Goblet Forum Aims to Serve As Annual Platform for Intellectual Exchange, Where Guest from Various Fielsatal. Cinema and Seek Common Development from Their Respect Perspectives. From the day after the Opening Ceremony to the Closing Day, there is at least one High-Profile Forum every day. Through Different Topic Settings, We Hope to Deeply Discuss of the Opportunities and Challenges Facing Chinese Cinema Today, so to Foster More Excellent Works, Improve. This Will Help Chinese Cinema Progress from An Initial Success To Continuous Prosphere.