Meet-and-Greet with Golden Goblet Awards Jury Members | To Explore the Future of Cinema at SIFF

On the morning of June 15, the jury panels for Golden Goblet Awards of the 27th Shanghai International Film Festival (SIFF) - including the Asian New Talent, Documentary, Animation, and Short Film categories - made their debut at the meet-and-greet. Though their disciplines vary, these jurors share the same creative vision: to discover groundbreaking works at SIFF and explore cinema’s future together.

Asian New Talent

Where Dreams Begin: Celebrate the Voices of Emerging Filmmakers

Marking its 21st anniversary this year, the Asian New Talent section will, for the first time, merge its awards ceremony with the Golden Goblet Awards as it enters its next decade. This reaffirms SIFF’s vision of focusing on “Asia, Chinese-language cinema, and New Talents”. The jury panel - chaired by Japanese director and screenwriter Sho Miyake, joined by Chinese filmmaker Dong Zijian, Vietnamese director and screenwriter Thiên An Pham, Thai director and screenwriter Nawapol Thamrongrattanarit, and Chinese actress Zhang Zifeng - reflected on their own career path at the meet-and-greet, unanimously praising SIFF’s pivotal role in supporting emerging talent.

Sho Miyake shared candidly: “As a young director, I won some awards... but more often, I didn’t. Yet simply having your work selected by a festival is already a victory - its very completion is a blessing.” Addressing new filmmakers, he added: “A jury’s choice doesn’t define a film’s worth. Winning fuels your journey, but should you fall short, may you remain true to your passion and stay unshaken in the creative journey.”

Dong Zijian, who proudly declares “SIFF is where my dreams began”, fondly recalled his connection with both SIFF and this particular section. With characteristic humor, he shared: “A decade ago, I stood on the Asian New Talent awards stage - though regrettably, neither as a nominee nor winner, but as a host.” Now as both director and actor, he reflected on his newcomer experiences in each role: “As a rookie actor, I was too nervous to sleep. As a first-time director, I was too excited to sleep. Either way, sleep deprivation came with the territory.” His anecdote drew knowing laughter from the audience. “Whatever challenges newcomers face,” he affirmed, “perseverance transforms them into cherished memories.”

Thiên An Pham, though relatively new to filmmaking with just “two shorts and one feature” to his name, has already made waves across Asian cinema. “This marks my participation in SIFF for the first time, as well as my debut serving on a festival jury of this caliber,” he noted. Yet growing up on Chinese films and TV dramas made him feel “an instant kinship” with the country. “I’d fantasize about starring in those very stories,” he revealed, “so profoundly has Chinese culture shaped me.” Beyond his judging responsibilities, Thiên An Pham approaches SIFF as a fresh face seeking collaborations: “I’m eager to connect with Chinese creators - this platform could foster extraordinary collaboration chances.”

Nawapol Thamrongrattanarit began his film journey as a screenwriter before transitioning to directing. Reflecting on his journey from a newcomer to an established filmmaker, he offered this advice to those who follow: “Starting as a screenwriter is a good path to becoming a director because it helps you grasp the film from the perspective of the whole story. On set, if changes to the script are needed, you don’t have to rely on another screenwriter - you can make the changes yourself, which gives you a lot of creative freedom. In short, being a screenwriter first is a great way to learn directing and filmmaking.”

Zhang Zifeng, a frequent attendee of SIFF, appeared for the first time this year as a juror for the Asian New Talent section. She admitted that she still felt “quite nervous”. As a young actress, she hopes that by engaging in discussions with directors, she can encounter “more diverse and unique creative attempts” that will help her grow. “I truly hope that every creator, including myself, can explore the ‘uncertainty’ within the creative process, because that’s where the magic happens,” she said. For young creators in the film and television industry, she believes that sincerity and passion are vital. “They may be our original intentions, but they are also what we must constantly seek and hold onto. With them, I believe anything is possible—even if the outcome is unknown.”

Regarding the judging process, the jury members emphasized that they would not approach the evaluation with preconceptions. They hope to see works that remain true to their creators’ authentic voices. “Technical skills can be mastered, and experience can be accumulated, but sincerity is irreplaceable,” they said.

Documentary Section

Where a documentary is like an island in one’s spiritual life

Thanks to filmmakers’ relentless dedication, documentaries are commanding unprecedented artistic respect and audience engagement. At the meet-and-greet with Golden Goblet Awards jury members for the documentary section, the jury members - jury president, British director Kim Longinotto, Brazilian director and screenwriter Petra Costa, and Chinese director and contemporary artist Yang Fudong - shared a common perspective on on today’s documentary landscape.

Kim Longinotto recalled that when she was young, documentaries were often narrated by “a dull male voice on television telling us to take a look into someone’s life.” Back then, audiences didn’t want to watch documentaries - “they were just waiting for the fictional parts to start.” “But things are completely different now,” she said. “More documentaries are making it to the big screen. Even though they’re nonfiction, they’re earning a rightful place in cinemas and gaining more attention.”

The growing influence of documentaries, she noted, comes from the richness and diversity of their subject matter. “A good documentary can make you forget it’s a documentary at all - it can feel like you’re watching a fictional story,” Kim Longinotto said. “That’s what makes making documentaries such a luxury. Sometimes they take you to places, into emotions and experiences, that an ordinary person might never encounter in a lifetime.”

In 1986, Petra Costa’s mother visited China. Years later, Petra was born, and both mother and daughter carried the dream of returning together someday. This time, as a jury member, Petra finally had the chance to fulfill that dream with her mother by her side. “This is my first time in China,” she said. “It’s incredible to see how rapidly the country has developed - the high-speed trains are astonishing, and society feels so harmonious.” In contrast, the social climate in her home country of Brazil has stirred in her a strong desire to explore and reflect. She chose documentary filmmaking as the medium to express her thoughts and questions. “For me, documentaries are like a key that unlocks the lives of others,” she explained. “I believe documentary is a form of art - a powerful way to explore our relationship with life, with existence, and with profound, universal questions.”

Yang Fudong shared that when he’s at home alone, his first choice is always to watch documentaries. “No matter the style - even if it’s a small regional documentary - I enjoy it,” he said. “There’s a strange kind of pull, something deeply engaging about real life. That’s what draws me in.” He added that documentary has much in common with other forms of artistic creation: “Whether it’s a feature film, a narrative film, or a documentary, they’re like different islands - each one is a spiritual habitat. For audiences and creators alike, every person has their own inner world, like a bird flying through the sky, needing to land on different islands - to observe, to live, and to feel.”

Regarding their role as jury members for the documentary section in Shanghai, they all expressed excitement about “being able to see more diverse cinematic expressions from around the world.” They anticipate “many surprises and different perspectives” within the works.

Animation Section

The box office success of Ne Zha 2 has invigorated the entire animation industry

Recently, the Chinese animated film Ne Zha 2 became a global sensation and was a hot topic at the meet-and-greet with Golden Goblet Awards jury members for the animation section. The jury, chaired by Irish director, screenwriter, and producer Nora Twomey, along with Japanese director, producer, and animator Koji Yamamura, and Chinese director Zhao Ji, agreed that the film’s success is significant for both its broad audience appeal and its positive impact on the film industry. However, from the creator’s perspective, after the animation industry has reached a certain point, it becomes especially important to introduce more diverse genres beyond the “mythological or IP-based” stories that audiences and markets are used to.

Nora Twomey described animation as “a very special medium” that can tell any type of story, “whether it’s fantastical or grounded in reality.” Creators use techniques like hand-drawn animation or 3D to bring their stories to life, drawing audiences “to the screen to experience” them, which she considers a wonderful process. Koji Yamamura, who originally trained in painting, shared that he transitioned to animation “because I felt the world we live in is changing rapidly, and animation as a medium reflects the changes in our current lives.” Zhao Ji, who has created multiple animations aimed at younger audiences, noted that animation worldwide is not just for children. “With the development of animation in China, people now have the opportunity to experience different types of animation and various expressions,” he said.

The development of animation is advancing rapidly, with an ever-expanding range of subjects, and AI is becoming more widespread, all of which have greatly heightened audience expectations. What the future of animation will look like has become a hot topic among the jury members. Nora Twomey said that over the past 20 years, in order for an animated film to gain audience attention and popularity, the stories often became “similar”. In such an era, creators should “not limit their imagination and use limitless expression to bring audiences works they can look forward to.” From a producer’s perspective, Koji Yamamura shared that he is increasingly paying attention to “how much of the creator’s own ideas are conveyed through the animation.” “Whether intentional or not - sometimes calculated narratives feel sterile, while unconscious elements become impenetrably obscure. Striking that delicate balance is everything.” He stressed. Zhao Ji believes that with many young people transitioning from animation enthusiasts to creators, “in the next five or ten years, they will have more space to experiment with different types of content.” Having created White Snake and New Gods: Nezha Reborn, he stated that his “future projects will also explore different types of content.”

This year, Ne Zha 2 became a global sensation and was a key topic of discussion for the three jury members. As professionals in the animation industry, they felt “inspired and encouraged” by its success. “It injected a new force into the industry. It broke box office records and proved that animation can do so much more - it can reach such a broad audience!” said Nora Twomey. Koji Yamamura pointed out that Japan, known for its thriving animation industry, “initially drew inspiration from a Chinese mythological story, Legend of the White Snake, which became one of the earliest feature-length animations and laid the groundwork for later advancements in both storytelling and technology.” Zhao Ji added that he had discussed the film’s impact with fellow industry professionals: “This success didn’t just energize the animation sector - it uplifted the entire Chinese film industry. It gave us a new sense of possibility. It showed us where our ceiling might be - and that we still have a lot of room to grow!”

Short Film Section

In this era, short films hold immense potential

Short films are increasingly gaining recognition and value in today’s world. For creators, this means more room for artistic expression. “This field holds tremendous potential,” was the shared belief of the jury panel for the Short Film Section of Golden Goblet Awards, expressed at the meet-and-greet. The jury is chaired by Chinese director, screenwriter, and producer Yang Chao, with Norwegian producer Lise Fearnley and Egyptian film critic and scholar Essam Zakarea serving as fellow jurors. They expressed “great anticipation” for this competition section at SIFF. “We hope to see the newest, most valuable visual ideas - films that are not constrained by theatrical formats or commercial conventions,” they said.

They believe that compared with feature films, short films come with several inherent advantages. Yang Chao explained that the essence of short films is freedom - they are naturally free from the constraints of theatrical releases and standardized formats. Especially in an era dominated by short video content, he noted: “We all know that today, for a feature-length film to get funding and be released in cinemas to the public, it faces many limitations. Many directors, once they realize they’re making something that requires a lot of money and accountability to a wide audience, become overly cautious - even timid.” Lise Fearnley described short films using the phrase “less is more.” “Short films often bring unexpected surprises. That sense of freedom allows many artists to fully unleash their creativity,” she said. Essam Zakarea also pointed out that, in today’s digital age, short films are incredibly easy to distribute: “Sometimes within seconds, a short film can be seen by audiences around the world - this is a major shift from how things worked just a few decades ago.” He praised SIFF for creating a dedicated section to promote short films, calling it “a very meaningful initiative”.

However, as an emerging form of artistic expression, short films still require more effort from creators to distinguish themselves from ordinary short videos made by everyday people - and to truly become works of art. Yang Chao remarked that while it seems like anyone can now pick up a phone and shoot a one-minute video, “in reality, the creative competition has only intensified.” “The question now is how that one minute can meet the audience’s expectations and standards for short-form visual content. That challenge demands a stronger foundation in writing, structure, and visual composition,” he said, adding that “the difficulty is actually increasing.” Lise Fearnley, whose short films have been nominated for the Oscars, pointed out that “short films tend to receive less attention than feature films, and are therefore harder to profit from.” For this reason, when selecting creators to work with, she said she looks more for “artistic vision” in their work. Essam Zakarea, who is also a filmmaker, shared that he is still exploring how to express himself through short films. “It’s hard to say what matters most - is it formal innovation, or the themes being explored? Perhaps the most important thing is to express something truly from the heart,” he said. “That’s what I’m striving for.”