China assists in the “reset” of international cooperation after the post-pandemic

The Chinese film industry is aiming for a surge in admissions and box office attendance over the past 12 months, as it arrived in Cannes not so much in person, but in the spirit of a gradual recovery of cinema from the global pandemic.

Chinese cinema pavilion installed at Marché du Film to show ‘confidence in development’ [Chinese] “Industry and refurbishment of exchanges and international cooperation in this field, including participation in festivals”, told the hosts, according to information from the China Film Production Corporation (CFCC), while the current coronavirus pandemic in China has been limited to a few their. Two bodies from a trip to France, actually.

The Chinese industry in 2019, before the start of the pandemic, broke records for the box office (US$ 9.3 billion), number of films released (US$ 1,037), number of screens in operation (US$ 69,787) and total audience (USD). $1.727 billion). according to the data provided by the CFCC.

Like everywhere else, 2020 stopped everything, but the CFCC points to the progress made in 2021 as a form of events and hope for the future. Cash registers were $7.4 billion, while attendance reached $1.167 billion, an annual increase of 73.5% and 67.6%, respectively. The number of screens also rose to 82,248, according to the CFCC.

While the COVID-19 shutdown in some major Chinese cities, including Shanghai, led to the widespread closure of cinemas in 2022, there were sparks of hope in domestic releases. Among the successes was the first director Sing Vincing Slapse Comedy very good to killWei Xiang plays the decisive role as a fighting actor, hired to become a true assassin. new japanese version the magic hour As of 2008, the film has grossed $390 million worldwide and received limited releases in North America.

Other successes included Battle of Lake Chanjin IIA patriotic WWII actor co-starring veterans Dante Lam, Zui Hark and Chen Kaiji, it’s still in theaters in some areas and has grossed over $620 million.

There is also hope this summer with the widespread release of the Sino-Italian romantic comedy. italian recipe, which combines two aspects of life that have been somewhat limited lately: romance and travel. The film is considered an adaptation of the Audrey Hepburn-Gregory Peck car. roman festival (1953), but for the modern indoor audience. It leans towards the likes of the 2013 hit. find the right man By taking two Chinese characters and putting them in a foreign setting, this time in Rome and not Seattle. The film was well-received by Italian audiences at its world premiere last month at the Udine Far Eastern Film Festival, and its allure comes as much from the sparks flying between its lead actors, Yao Huang and Xun Liu, as it does from their business savvy. . Using Roman sites like the Colosseum and Trevi Fountain as a backdrop for their growing romance.

The further the horizon reaches wandering land 2, the long-awaited sequel to China’s 2019 smash hit, which grossed $700 million and was widely recognized as China’s first sci-fi blockbuster. Due to delays caused by the pandemic, the film will be released in 2023, but once again much is expected of director Frant Gwo, who this time has appealed to popular Hong Kong veteran Andy Lau to take the lead and continue using source material. . Given to Liu Cixin, the most successful Chinese science fiction author of all time. The film tells the story of a group of astronauts tasked with finding a new home for humanity.

Lew’s novels and short stories provide food for content creators elsewhere, as Chinese streaming platform Tencent and global streamer Netflix are currently making series adaptations of author Hugo’s award-winning series. three body problem. The Chinese government sees huge potential in science fiction, and a report published in local media at last year’s China Science Fiction Convention in Beijing claimed the industry was worth $5 billion in the first half of 2021.

Such topics will no doubt be part of the discussion at the China Film Pavilion, funded by the China National Film Development Fund and located in the international village, Pantiero No. 208, which features a series of forums filmed for this occasion, featuring leading figures in Chinese cinema, including directors Diao Yinnan (Black coal, thin ice) and Gia Janke (Are you still alive), studio executives Jiang Defu (Bona Film Group CO) and Zeng Maojun (Chairman of Wanda Cultural Industry Group and Wanda Film Group), as well as Liu Chun, Chairman of the CFCC.

These filmmakers can be seen on screen (as well as on the Chinese Film Pavilion’s online platform) discussing topics ranging from “Chinese Film Industry Overview 2021, How House of Arts Films Are Imported and Distributed in China, an International Distribution of chinese movies movies. “Project development experience shared by young Chinese producers, as well as how to enhance the Chinese film community with future opportunities for international collaboration after the impact of COVID-19,” the CFCC said in a statement.

International distribution of Chinese films will focus on how Chinese films can be “globalized”, while negotiations on the promotion of art films in China will focus on the work of the National Art Film Alliance of China (NAAC). It has screened over 100 films and held 10 themed film festivals since its inception in 2017 and now works in partnership with 3,000 cinemas covering 300 cities in China.

There is also a Chinese stand at the Palais des Festivals et des Congrès, which presents works by 24 actors from the industry, including production companies, studios, festivals, copyright agencies and film academies, in addition to showing some of the country’s successes in the last years. . among them is Battle of Lake Chanjin II.