Sino-Foreign Film Co-Production Forum & Film Pitch: Persistence and Change in International Film Cooperation against Backdrop of the Pandemic

　　This year’s forum, hosted by the Organizing Committee of the BJIFF, and co-organized by China Film Co-production Corporation and Online Film Market Co., Ltd. is held to sum up the experience in Sino-foreign cooperation, and explore the combination of localization and internationalization, as well as international cooperation and coordination and other issues in the process of film industrialization.

　　Chen Xiang, member of the Party Leadership Group and Vice President of Beijing Radio & Television Station and Deputy Secretary General of the Organizing Committee of the 10th BJIFF; Liu Chun, General Manager of China Film Co-production Corporation; Jiang Defu, Senior Vice President of Bona Film Group; Liu Hongtao, President of Mahua Fun Age; Zhao Fang (Gillian Zhao), President of Warner Bros. China; Shunji Iwai, famous Japanese director and screenwriter; Renny Harlin, renowned Finnish director, producer, and screenwriter; Dato’ Norman bin Abdul Halim, President of KRU Entertainment and Deputy Chairman of the National Film Development Corporation Malaysia (FINAS); Catherine Xujun Ying, Vice President of CMC Inc. and President of CMC Pictures, and other leaders as well as Chinese and foreign guests gathered together to explore the international collaboration and results-oriented cooperation between Chinese and foreign films.

　　Chen Xiang pointed out in his speech that the BJIFF has always attached great importance to the organization of the Sino-Foreign Film Co-Production Forum, and actively advanced all-round, multi-level, and solid in-depth exchanges and functional cooperation between Chinese and international films. Especially against the backdrop of the film industry around the world severely affected by the COVID-19 pandemic, holding the forum is of important pioneering significance for us to boost the confidence in and inspire morale for the development of the film industry, and explore new models and trends for deeper cooperation in the film industry with broader domains and on a larger scale.

　　According to Liu Chun, China has signed inter-governmental film co-production agreements with 22 countries including the United Kingdom, France, Russia, New Zealand, Japan and India. From 2000 to the end of 2019, 244 Sino-foreign co-productions were completed and released, and there were 49 co-productions with box office receipts of over 100 million yuan in Chinese mainland. Liu could strongly feel that Chinese films have come to the stage at which self-change and self-improvement is required in the process of deepening Sino-foreign cooperation, “Every domestic filmmaker at a different stage of development and filmmakers in different sectors all need to develop this concept.”

　　When touching upon specific methods, Gillian Zhao noted that the best way to improve the film industrialization system in China is to make use of partners’ resources. As for production, we can establish a co-production system with Hollywood in the first step, which has had well-developed industrial systems for theme development, technique of narration, production, and other processes and chains after 100 years of practice. We are now in time for Chinese films that have developed by leaps and bounds for decades. Through cooperation with Hollywood, we can find some shortcuts and learn a lot, but we must localize them to establish a film industrialization system with Chinese characteristics.

　　Co-productions have been facing the difficulty of keeping localization and internationalization in sync. How to overcome cultural differences and maximize the shared growth between the local and international markets has become a focus.

　　In this regard, Renny Harlin emphasized that Hollywood films generally pay special attention to global marketing. Whether to create universal symbols and shape a sentiment that can arouse a global resonance is an important factor that determines the prospect of a film. Particularly, emphasis on emotion and sentiment is important. “When you watch a movie, comedy or action, only the sentiment, something that humans have in common, can see a shared understanding among the westerner and easterner. So, I call on all producers and screenwriters to pay attention whether their movies can arouse people’s sentiment.”

　　For The Meg case, Catherine Xujun Ying pointed out the most important thing for a co-production is global cooperation, global distribution, and global revenue-sharing. We should not only focus on the Chinese market, but also need repeated run-ins between Chinese elements and international markets in the development, production and distribution processes. What Sino-foreign co-productions such as The Meg value most is how to apply Chinese elements properly, among which character creation is foremost These characters should not only reflect the modern, positive, strong and intelligent characteristics of Chinese people, but also are acceptable to audiences all over the world.

　　Dato’ Norman bin Abdul Halim shared his experience in international cooperation and distribution. He said the idea of resolving cultural differences is simple, that is, “to reach out to the world from its local base.” In the localized creation of films, it is crucial to design a concept and story that can not only meet the expectations of key target markets, but also win the recognition of local audiences. Action movies can enlarge the charm of the storyline and reduce the fading of cultural implication. The idea of Parasite riding on international film festivals with a focus on the local market is worth drawing on.

　　The unexpected COVID-19 pandemic has severely affected the existing film industry development pattern and international collaboration models, and also caused many international filmmakers to rethink where the film industry is heading and where film professionals will go in the future?

　　Liu Hongtao noted that the COVID-19 pandemic has caused filmmakers all over the world to face a serious challenge – what’s the way forward? Both creation and the market are facing a huge challenge. However, Chinese films are actively drawing on and exploring international expression, which gives the film market a lot of hope. The audience’s demand for movies will not change. Only if creators can offer better content and quality, which attract the audience to watch their movies and experience unique enjoyment, the movie will be able to stay alive!

　　In terms of operation, Jiang Defu stressed that pragmatism and awe of the film are particularly important. For private enterprises, the most obvious pragmatism is reflected in two aspects: one is to meet the shooting standards, and the other is to save costs, so it is necessary to find a creative point and a production system that enable the two to be compatible. As for creation, the awe of the film allows creators to start with everything and stick with creation for life. “Bona has made a lot of films recently, including the programs in reserve for the coming few years. These programs are more sophisticated in topic and type. You can look forward to them!”

　　Although it was impossible to shoot films globally for a time, filmmakers all over the world still tried their best to explore and actively seek new cinematography and modes within their reach. Shunji Iwai, who is popular with Chinese audiences for his films such as Love Letter, Swallowtail Butterfly, and Last Letter, revealed that he completed the film The 12 Day Tale of the Monster that Died in 8 through the combination of remote filming with mobile photography during the pandemic in May, which was screened in small cinema circuits in Japan at the end of July in support of the work resumption of the Japanese film industry. “I’m defined by the film, so I can only live my life by making films. After the end of the pandemic, I will definitely come to China to meet my old and new friends,” said Shunji Iwai affectionately. In addition, Shunji Iwai also revealed that the sequel to Last Letter is also in pipeline.

　　To promote the implementation of co-production projects and take effective measures to advance cooperation and exchanges among China and foreign countries, the host has selected six distinctive co-production projects, namely, There Is a House Facing the Sea, 90 Meters Underground, The Thousand and Two Nights, A Adventure in the Forest, Cross-Border Tracking, and Platform, for project pitching. Moreover, it has invited Cai Min, Executive Deputy General Manager of Beijing Cultural Investment Holdings Co., Ltd., Lu Yongquan, Chairman of Lanhai Tech, Li Tingwei, President of the China UK Film Fund, Ye Mei, Deputy General Manager of ZGC Co-Innovation Fund, Liu Da, General Manager of Hulai Holdings Group Co., Ltd., Han Xing, board director of Starsfund, Liao Wenbin, Deputy General Manager of Hengye Pictures (Beijing) Co., Ltd., Zhu Yuqing, Founder of Online Film Market Co., Ltd. and other investor representatives to actively interact with the project initiators, giving input into film creation and production and others to help with project development and incubation.