Overview of the 26th SIFF: In the city of movies, enjoy the beauty of the city through light and shadow

In the prime of summer’s splendor, from June 14 to 23, the 26th Shanghai International Film Festival (SIFF) unfolded grandly. Once again, the city of film embraced the art of light and shadow, catalyzing myriad fantastic encounters. Over ten days, films and cityscape intertwined, defining and inspiring each other, unlocking boundless realms of imagination for the high-quality development of Chinese cinema.

The Fusion of Film Works and the Urban Culture: To Cherish Diversity with Unfailing Innovation

Shanghai, revered as the cradle of Chinese cinema, has witnessed the rise and development of Chinese films. As a cultural “brand” cultivated by Shanghai unremittingly, SIFF and its Golden Goblet Awards, born in 1993, have underscored its global stature increasingly through meticulous curation year after year.

With entries across five Golden Goblet Award categories and teams of creators from 50 groups spanning 29 countries and regions, alongside 22 jury members from 13 countries and regions convening in Shanghai, the festival reaffirms its global prominence. At the jury panel meet-up, Australian juror Rolf de Heer expressed his anticipation for his trip to Shanghai: “To immerse in the world of cinema.” He elaborated, “Cinema is universal and global; this is our understanding of the city of film.” With 76% of the entries making their world premieres, SIFF enjoys wide-ranging connections and reputation within the global “film festival network”, a testament to its role in honing Shanghai’s image as an international cultural metropolis.

50 films, representing a variety of nations and genres, graced the nominations. In the main competition section, 14 films captivated audiences with thirty-one screening sessions, thirty of which were sold out instantly. Among them, A BATHROOM OF ONE’S OWN and LIVING IN TWO WORLDS sparked immediate acclaim upon release. Notably, there are distinctive entries such as Georgia’s representative film SNOWFLAKES IN MY YARD‎, Bangladesh’s overlooked gem SILENCE OF THE SEASHELL‎, and the experimental work from Iran’s new generation directors THE WASTEMAN.

Jury member and esteemed German filmmaker Matthias Glasner shared, “Attending the Shanghai International Film Festival has expanded my cultural horizon. The film entries here unveil for me cultures rarely glimpsed in Germany.” Meanwhile, China’s four contenders for the main competition of Golden Goblet Awards showcased a spectrum of styles, reflecting profound introspection on China’s past, present, and future. Emerging director Wei Shujun, known for his bold departure from his previous works in DON'T WORRY, BE HAPPY, noted, “With every film, I strive for innovation, a fresh narrative told in a novel manner.” Veteran filmmaker Gu Changwei, twice Wei’s age, reflected, “Filmmaking demands dedication. It necessitates an authentic, grounded approach, shaped by extensive learning and cinematic exploration.”  

The Asian New Talent Unit, which spotlights directors’ first two works, demonstrates the burgeoning strength of Asian cinema. Across animation, documentary, and short film categories, it underscores the Golden Goblet Awards’ keen aesthetic acumen and pioneering perspective. Jury member and documentary filmmaker Duan Jinchuan reflected, “Here in Shanghai, I’ve found films that touch me deeply - ones that provoke profound introspection and poetic resonance. It’s been quite some time since I’ve seen documentaries of this caliber!”

The rich history and the times have nurtured Shanghai’s urban spirit of “inclusiveness and diversity, pursuit of excellence, enlightened wisdom and humility”, alongside its character of openness, innovation, and inclusivity. These qualities have fostered SIFF’s consistent pursuit of professionalism and distinctive organizational ethos. The 26th SIFF, deeply rooted itself in the city’s spirit and honoring its urban legacy, has taken further the promotion, inheritance and inheritance of Red culture, Shanghai-style culture, and Jiangnan culture.

The dance drama film RED RADIO OVER SHANGHAI, premiering as the festival’s opening film, unveils its world debut, marking a timeless art journey of this classic Red-themed IP - from cinema to dance drama, and now to the realm of dance drama film - as a vivid testament to artists’ original aspirations and dedication to craftmanship. In the screening unit “The City and Its Cinema: Celebrating the 75th Anniversary of the Founding of the People’s Republic of China and the Liberation of Shanghai”, more than 9 films shed light on Shanghai’s urban tapestry and its inhabitants. Vertically unfolding, it showcases the city’s ever-renewing splendor alongside the development of the New China, chronicling the spirit of its people through the lens of evolving times. Within “Selection of Latest Chinese Opera Films” and the Yangtze River Delta Drama Film Screening, iconic opera genres like Peking Opera, Shaoxing Opera, Kun Opera, Shanghai Opera, and Huangmei Opera grace the screen. Here, traditional operas encountering cutting-edge film technology unveils the enduring artistic allure of Jiangnan’s rich opera culture.

Interplay of the Film Industry with Urban Identity: To Regain the “Original Aspiration” and Set Sail Anew

SIFF, underpinned by the philosophy of building consensus, deepening exchanges, and facilitating cooperation, has zoomed in on key themes and milestones to bring forth an open, inclusive, diverse, collaborative, and unified cinema landscape. In 2024, commemorating the 60th anniversary of Sino-French diplomatic ties and the China-France Year of Culture and Tourism, SIFF, in partnership with China Media Group, has orchestrated the “French Film Week”, which encompassed 38 sophisticate French films that have competed or been showcased at international film festivals of Cannes, Venice, and Locarno, etc., with 156 screening sessions in total. And this initiative, with films as the channel, aims to deepen cultural ties between China and France.

The Belt and Road Film Festival Alliance, initiated by SIFF in 2018, has expanded from its initial 31 member institutions from 29 countries to encompass 55 member institutions across 48 countries. Through films, member institutions are envisioning a shared blueprint for cultural exchange and cooperation in cinema, bringing aspirations into tangible realities. Anchored by events like the Belt and Road Film Week, this year, it has gathered in Shanghai over 40 international filmmakers from 25 countries and regions, alongside more than 20 domestic and foreign film institutions. 

Themed around the “Path of Courage”, it had 18 selected films hitting the screen in 65 sessions throughout Shanghai. Beyond Shanghai, six of these films were also staged in cinemas across Nanjing, Suzhou, Hangzhou, Ningbo, and Hefei, with 36 screenings in total. On June 18, the winners were unveiled during the awards ceremony at the Museum of Art Pudong. Greek director Eva Nathena, with her debut feature MURDERESS, shared the “Media Choice Award for Filmmaker” with Mongolian actress Battsooj Uurtsaikh from the film IF I COULD HIBERNATE, as chosen by the international media jury panel.

The collaborative film THE SETTLERS, jointly produced by Chile, Argentina, the UK, Taiwan (China), France, Denmark, Sweden, and Germany, was honored this year’s “Media Choice Award for Film”. Additionally, ambassadors Da Peng and Yao Chen announced the “Audience Choice Award”, voted by the live audience, which went to THE MIDSUMMER'S VOICE, a collaborative effort among young Chinese director Zhang Yudi and a group of talented young actors/actresses.

Da Peng remarked, “Through film, people from different countries and regions can communicate with each other; that’s the magic of cinema.” Outside of their professional engagements, international filmmakers also enjoyed exploring Pudong with a guided city tour, visiting landmarks like Duoyun Books, Xinchang Ancient Town, and Disneytown, reveling in the scenic charm of Pudong and Shanghai.

Fresh from the gathering this time, a new round of the Belt and Road Film Tour has kicked off. Since 2018, over 50 Chinese films have ventured into international film festivals within this film tour framework. In the previous film tour, about 20 remarkable domestic films like MAY and I AM WHAT I AM illuminated screens at events including the Dhaka International Film Festival in Bangladesh, the Fajr International Film Festival in Iran, the Moscow International Film Festival in Russia, and the Transilvania International Film Festival in Romania.

The theme of “going global” in the film industry has emerged as a focal point at this year’s SIFFORUM. Yet, amidst the fervent quest to find avenues and mechanisms for international market expansion, filmmakers approach this burning issue with a composed demeanor. 

 At the inaugural forum themed “New Horizons in Film – Embracing Innovation and Diversity”, director Wuershan forthrightly shared that while his film CREATION OF THE GODS I: KINGDOM OF STORMS is poised for a European debut this year, his primary pursuit isn’t merely about “going abroad”. He expressed, “I aspire for film creation to authentically reflect the current spiritual realm and faithfully portray characters’ emotional journeys. What matters most to me is discovering the ‘starting point’ for our international journey.”

Beyond cinematic narratives, the global cultivation of Chinese IP faces various challenges but is gradually gaining momentum. Discussions revolving around the globally acclaimed top-class IP “Three-Body”, with a vast international fan base, have brought to a consensus in specialized forums: “Grounded in Chinese culture, to explore shared spiritual values, and achieve profound global resonance.” The message that Zhang Yimou is set to helm the cinematic adaptation of “Three-Body”, disclosed by Wang Changtian, Chairman of Enlight Media, has instantly captivated attention across both domestic and international media.

As China’s film industry shifts from rapid growth to high-quality development, the discussions at SIFFORUM have centered on two main themes: focusing the lens on hot topics and confronting critical issues. At the “New Practices in Film Distribution” forum, director Jia Zhangke and Professor Zhi Feina from the Chinese National Academy of Arts candidly addressed the efficacy of film distribution, advocating for segmented and personalized consumer experiences. Meanwhile, at the “New Vision and New Productivity of Sci-fi Films” forum, a new generation of creators showed enthusiasm for embracing AI while industry professionals maintained a cautious approach towards high-tech-assisted creativity. 8 emerging Hong Kong performers took the spotlight at the“Emerging Power of Hong Kong Cinema in Conversation with Derek Yee” forum in dialogues with renowned director Derek Yee, sharing insights into their career growth and exploring collaboration opportunities with the mainland Chinese film industry. Other forums like “Her Film Age: To Embrace and to Reshape”, “Belt and Road Film Culture Roundtable Forum”, “Fusion and Symbiosis: Cinema and the City”, and “Asian Cinema Panel” served as vibrant arenas for robust exchanges among participants around film creation, cultural exchange, talent cultivation, and industry development from various perspectives. This year’s Sci-Fi Film Week has come with not only thematic forums but also events such as Sci-fi literature IP/project promotions and“Future Engine: Night of Movie Heroes”. These activities showcased six remarkable sci-fi literary works ripe for cinematic adaptation, to catalyze the transformation of valuable sci-fi IPs.

Distinguish directors Tran Anh Hung, Shunji Iwai, Bill Nichols, and Midi Z were invited to SIFF MasterClass to share insights into filmmaking and delve deep into their cinematic musings. Shunji Iwai, who has attended SIFF four times and chaired the Asian New Talent Jury Panel 13 years ago, reflected poetically on youth during his MasterClass: “Youth today is a timeless motif, universally understood across nations and epochs alike. People transcend time, evolving with each era, yet our fundamental understanding remains ever constant.”

At the SIFFORUM, sparks flew over topics that ignited discussions, while over the course of the three-day SIFF MARKET, more guests shared hands-on experiences. A total of 137 film and television institutions from home and abroad showcased their projects at the exhibition of SIFF MARKET, where international buyers and sellers gathered in abundance. Overseas sellers expecting to bring their excellent works to China have once again dominated the market exhibitor ratio. Faces familiar to SIFF from like Thailand’s Ministry of Culture, Korea’s KOFIC, Polish Filmmakers Association, and Iran’s Farabi Cinema Foundation were joined by new acquaintances from film institutions in Saudi Arabia, Georgia, Kyrgyzstan, and others, all arriving in Shanghai for networking, exchanging ideas, and making deals. International distributors seeking quality films for the Chinese market were notably active. A representative from Kyrgyztasmasy State Cinema Center noted that Chinese films released in Kyrgyzstan ranked sixth among all countries last year, expressing hopes to further scale up the distribution of Chinese films, especially Chinese animated movies, in Kyrgyzstan.

On one hand, the growing appetite of international buyers is undeniable, while on the other, there are subtle changes in the demands of overseas markets. For instance, buyers from Southeast Asia, once partial to Chinese art films, have now set their sights on Chinese commercial blockbusters with even greater interests. While Chinese films that once ventured overseas were primarily tailored for the local Chinese market, they are now garnering increasing attention from domestic audiences. As the influence of film works continues to grow, the promotional and distribution methods of Chinese films are also becoming a source of inspiration for other countries. As China’s premier and sole international competitive feature film festival, SIFF has played a powerful role in promoting international cooperation and exchange, as a strong catalyst and trendsetter in driving these efforts forward.

Synergy between Filmmakers and the City: Refreshing Chinese Cinema and Inheritance of Artistic Tradition

Jury President of the main competition of this edition of SIFF and French director Tran Anh Hung, remarked, “It is a blessing to dive into films.” Throughout the festival, a total of 5,288 guests from over 60 countries and regions converged on the banks of the Huangpu River, dedicating ten days to enjoying and exploring films alongside a larger audience base of local citizens.

SIFF has always been a prominent platform for screening and promoting Chinese-language cinema. Films such as SUCCESSOR, UNDER ONE PERSON, A PLACE CALLED SILENCE, STAND BY ME, DECODED, UPSTREAM, THE SAND MURMURS, BRAVE NEW WORLD, GIVE YOU A CANDY, HONEY MONEY PHONY, and the upcoming OPERATION LEVIATHAN to be released next year are all making their grand appearance on the festival’s opening red carpet. In total, 59 Chinese-language films, including these new releases and competition entries, are shining at this year’s film festival.

Furthermore, the “2024 Chinese Movie Blockbuster Showcase”, co-hosted by Alibaba Pictures and SIFF with the participation of numerous film companies, sets sail during the festival. This initiative, showcasing the prowess of Chinese cinema, unveils seven Chinese-language films spanning various genres and themes. It has highlighted three crucial attributes – quality, industrialization, and sophisticated production – as the guiding principles for filmmaking, casting lens on themes such as individual destinies, national sentiments, humanistic concerns, and contemporary resonance.

The inaugural Summer Blockbuster Film Trade Fair drew 14 major film and television companies including Huaxia Film Distribution Co., Ltd, Shanghai Film Group, Alibaba Pictures, Maoyan Entertainment, Bona Film Group, Wanda Media, and Eastern Grace Film. Over 50 upcoming films scheduled for release in the summer of 2024 were announced, featuring AI-assisted character creations and the arrival of renowned imported IP series. SIFF has truly built up excitement for this summer’s lineup.

A gradual yet impactful journey follows the inception with great momentum. Upholding the philosophy of focalizing “Asia, Chinese films, and New Talents”, SIFF has established a seamless “6+1” progressive scheme for nurturing emerging filmmakers with SIFF EXPLORE, Short Film of Golden Goblet Awards, SIFF NEXT, SIFF PROJECT, Asian New Talent of Golden Goblet Awards, Golden Goblet Awards, and SIFF YOUNG. This edition of SIFF PROJECT has picked a total of 34 projects in the four categories of NEW TALENT PROJECT, CO-PRODUCTION PROJECT, PRE-PRODUCTION PROJECT, and WORK-IN PROGRESS PROJECT (WIP), including 6 emerging from SIFF NEXT, the SIFF “Young Talent Camp”. Since its establishment in 2007, this section has seen 98 projects move into production, with 76 hit the screens at major international film festivals worldwide, 57 making their way into international competitive feature film festivals, and 38 returning to compete in SIFF. 68 films of them have delighted audiences in cinemas worldwide.

The Best Film in the Asian New Talent section of this SIFF, FRIDAY, FUNFAIR, happens to be a project that was shortlisted for SIFF PROJECT in 2023. In recent years, the projects from SIFF RPOJECT SUKHAVATI and A LAND BEHIND also have made their global debuts in “Refreshing Chinese Cinema” of this festival. SIFF has prolonged the cycle of talent cultivation and work incubation, to support and nurture creators throughout the entire growth process. This not only facilitates the development of filmmakers but also optimizes up to date its own talent cultivation system. The high-quality and rich projects have led to the enthusiastic participation of nearly two hundred domestic and foreign production companies, investors, and distributors.

The Asian New Talent section, greeting its 20th anniversary this year, is one of the pillars for both the scheme and the Golden Goblet Awards competition. From humble beginnings to meticulous curation, this section manifests our unfailing vision of unearthing emerging film directors from China and across Asian nations and regions. An essential platform in the Asian film landscape, it offers a glimpse into the vibrant influx of new talents and their works. This year, 11 films representing 7 Asian countries and regions have been chosen for Asian New Talent. Reflecting on his FRIDAY, FUNFAIR, Best Film of this edition, director Zeng Zhi remarked in an interview: “Years ago, I stumbled upon movies being shown here on the other side of the road and realized it was the main venue of the Shanghai International Film Festival. Now, having crossed that ‘road’, I find myself winning an award at this very venue, which marks a significant leap in my filmmaking journey - a true beginning.”

In its fifth anniversary, SIFF EXPLORE is a crucible of experimentation, despite its concise five-minute format. Like a microcosm of creativity, these films offer viewers a chance to appreciate the boundless creative energy and vibrant imagination of young creators.

SIFF YOUNG, on the other hand, has shortlisted for its third edition the following 8 exceptional filmmakers: screenwriter Chen Shu, producers Ying Luojia and Meng Xie, and directors Jigme Trinley, Huo Meng, Zhao Ji, Wei Shujun, and Kong Dashan.

The “2024 China Movie & TV Night”, themed “Chinese Stories in the World of Light”, unfurls across three chapters: “Original Aspiration and Dreams”, “Craftmanship and Inheritance”, and “Confidence and Adventure”. Highlighting impressive Chinese film and television creations, it brought together luminaries from China’s contemporary film and TV industry to to tell stories both before and behind the screen. At the Media Focus Unit, which honors filmmakers contributing to the film industry, director Wuershan of CREATION OF THE GODS I: KINGDOM OF STORMS scooped the Media Choice Award for Director. The 2024 Film & TV Music Festival traced the evolution of China’s film and TV music, celebrating the most unforgettable film and television classics and notable music compositions selected by experts in film, television, and music over the 75 years since the founding of the People’s Republic of China.

Synergy of Film Consumption and Urban Vitality: An Never-ending Celebration in the City for the People

During this edition of SIFF, Shanghai has announced its three-year action plan for the high-quality development of the film industry. The plan aims to cement the creation foundation, foster prolific production, upgrade industry, cultivate an ecological environment, and enhance talent mechanisms. Over the next three years, these initiatives will comprehensively enhance Shanghai’s cinematic power, shining a brighter spotlight on “Shanghai Cinema” and the city’s reputation as a cinematic hub.. As we commemorate the 5th anniversary of the concept of “A City Built by the People, and for the People”, SIFF has envisioned to create a harmonious synergy between urban vitality and cinematic allure through the fusion of film and urban renewal.

In this city, the significance of SIFF has surpassed that of the films themselves. It is a feast where people come together to celebrate and share the splendid and diverse cultures of both domestic and international cinema. This edition of SIFF has presented a total of 1,672 film screenings and 88 audience meet-and-greet sessions.

Among them, 47 cinemas in Shanghai have screened 461 films from 64 countries and regions, totaling 1,636 screenings, with 82 of them accompanied by meet-ups. As of 8 PM on June 20, the festival had attracted 495,000 viewers, with 28% from outside Shanghai, notably from Suzhou, Hangzhou, and Beijing. According to data from the travel platform Ctrip, since June, SIFF has drawn 50,000 visitors to the city, leading to over 20,000 hotel nights consumed. Hotels within a 2-kilometer radius of the main venue, Shanghai Film Art Center, reported full occupancy daily, with an average of over 5,000 check-ins per day. At the same time, the “Traveling with Films” page of Ctrip launched various activities, including a map of cinemas for dining, entertainment, and exploring, as well as a guide for cultural and artistic walks in cinemas. Since its launch on June 1, users have voluntarily uploaded approximately 8,500 travel guides covering a wide range of experiences during the festival, such as rushing to different cinemas, exploring nearby attractions, and grabbing quick meals between screenings. The total interaction volume has reached 4.9 million.

Dianping, in collaboration with SIFF, introduced the “Cinema Hopping” at the end of May. Users, while easily finding nearby cinemas showing the festival films, can also explore dining, entertainment, and other activities in the vicinity. In just twenty days, this activity has reached millions of people across the city. Aside from the active participation of local film enthusiasts, 10% of the users checking in at these cinemas hailed from regions such as Jiangsu and Zhejiang. On average, each user paid visits to five cinemas, with one user even marking his/her presence at a remarkable 30 cinemas. Moreover, film fans also shared over a thousand “Cinema Hopping” guides, bringing about an impressive exposure surpassing 5 million views.

SIFF and China Media Group Mobile co-produced the talk show “Golden Goblet Awards Parlor”, which was joined by 31 groups and 63 esteemed guests by June 20, with total platform views exceeding 26.5 million.

Cameron Bailey, the CEO of the Toronto International Film Festival (TIFF), who attended SIFF, expressed a profound appreciation for the event, saying, “The allure of a film festival lies in the shared experience of important moments with strangers.” SIFF has amplified its impact thanks to online engagement, expanded venues, and extended reach. The SIFF XR section, hosted at the PUSH Art Center in Puxi Financial Plaza, gathered top virtual reality headset suppliers, offering 26 immersive works from around the world. Among them were 5 international premieres, 5 Asian premieres, and 6 Chinese premieres. These screenings captivated over a thousand attendees, with more than 10,000 individuals showing interest through the reservation platform. Additionally, the showcase of 11 “multi-person large-space” VR projects drew participants from China, France, Brazil, Ireland, Canada, and other countries and regions. As part of the Belt and Road Film Week series of activities, the vibrant “Latin American Fiesta” took place at Bicester Village, boasting wonderful cultural performances, Latin American cuisine, unique leather products, Peruvian alpaca wool items, and colorful murals. This four-day event was well attended by over 7,000 visitors. Moreover, the Huangpu Cultural Tourism Group organized various activities in collaboration with cinemas such as Grand Theatre, Peace Cinema, Cathay Theatre and Huangpu Theatre, as well as the bustling Nanjing Road and Huaihai Road commercial districts, aiming to engage more audiences and create a harmonious interplay between culture and commerce during the film festival. Altogether, SIFF, acting as a powerhouse for cultural, commercial, and tourism endeavors, has pushed forward the boundary of cinematic tourism consumption and rejuvenated the vibrant spirit of this cosmopolitan city.

As the screenings in theaters draw to a close, the enduring effects of the long tail phenomenon persist. The “Dream Factory” film art exhibition, unveiled during the festival, displayed over 30 top domestic and international film IPs, and exclusive behind-the-scenes treasures like handwritten scripts from world cinema legends in 7 thematic units. This ongoing exploration of diverse forms of cinematic artistry will continue until September 17. Seamlessly integrated with the festival, the Zhangyuan & North Maoming Road Era-inspired Film Art Exhibition will outdoor screen two films, RED RADIO OVER SHANGHAI and I WISH I KNEW from “The City and Its Cinema: Celebrating the 75th Anniversary of the Founding of the People’s Republic of China and the Liberation of Shanghai”. Situated in a district blending historic architecture with urban renewal, this exhibition will further illuminate Shanghai’s story through the lens of cinema.

The span of ten days is limited, yet the journey into the realm of cinema knows no bounds. Film transcends borders, offering a universal language shared across the globe. SIFF, setting the stage for international exchange, is where everyone’s hopes and aspirations for cinema thrive. Before this festival’s dawn, the revered “Filmgoers’ Handbook”, nicknamed by fans as the “Film-going Bible”, made a comeback to theaters after a four-year hiatus. Enthusiasts who received it adorned their notes on platforms like Xiaohongshu:

“In June, Shanghai is enveloped in the charisma of cinema.”