Source: People’s Republic of China – State Council News
A roundtable on “Exploring China’s Film Narratives in a New Era” brought together Chinese and international filmmakers at the Marché du Film during the 78th Cannes Film Festival, aiming to strengthen cross-cultural dialogue and boost the global appeal of Chinese cinema.
(From left) Cedric Behrel, Chen Sicheng, Chen Yu and moderator Silvia Wong join the panel roundtable “Exploring China’s Film Narratives in a New Era” during the 78th Cannes Film Festival in Cannes, France, May 20, 2025. [Photo courtesy of China Film Association]
Deng Guanghui, executive president of the China Film Association, noted in his opening remarks that 2025 marks the 120th anniversary of Chinese cinema and highlighted the industry’s evolution from technical innovation to greater cultural depth.
“In recent years, supportive policies have driven both creative and industrial growth. Chinese filmmakers are advancing aesthetic traditions while developing unique styles in content, technology and global outreach. They continue to tell original, powerful stories to audiences worldwide,” Deng said.
China is home to the world’s second-largest film market, Deng said, noting that the government is encouraging more crossover initiatives such as “film plus tourism” and “film plus consumer experiences” to grow the market and promote global development.
“Chinese cinema will remain open and inclusive, working with international filmmakers to tell stories of our shared future,” he said.
The panel featured renowned filmmaker Chen Sicheng, screenwriter and Peking University professor Chen Yu, and Cedric Behrel, managing director of Trinity CineAsia, as keynote speakers.
Chen Sicheng, creator of the hit “Detective Chinatown” franchise, shared insights into the series’ success, saying it has become increasingly difficult to satisfy audiences with single-genre films as new formats such as gaming and social media gain influence.
“Filmmakers must adapt,” he said. “The ‘Detective Chinatown’ IP blends thriller, comedy and action while reflecting contemporary society. Both form and content need to resonate equally with Chinese audiences.”
“Chinatown is a unique window and symbol of Chinese culture, especially abroad,” Chen said. “I wanted to tell a story about distinctly Chinese detectives on adventures overseas. Through this film, I hope international audiences can see Chinese cinema evolve. Did I expect its success? I was confident – good films will always find their audience.”
Chen also revealed plans to set the next “Detective Chinatown” installment in London, but after visiting France, he is now considering filming in Paris and expanding the story across Europe.
Screenwriter Chen Yu, known for his work on Zhang Yimou’s acclaimed films such as “Full River Red” and “Under the Light,” discussed trends among Chinese audiences. “Chinese viewers are paying more attention to the narrative itself. But this isn’t unique to China – we’re also seeing a global return to storytelling as a central focus,” Chen said. “Audiences generally hope to draw emotional and sentimental strength from films.”
Cedric Behrel, whose company has handled numerous Chinese releases abroad, including the recent animated juggernaut “Ne Zha 2,” said China’s vast domestic market and its capacity for producing large-scale, high-quality films give it a distinct advantage in delivering the big-screen experiences audiences desire. He noted that as people worldwide spend more time on personal screens, Chinese cinema has an opportunity to stand out.
He also pointed to China’s rich cultural heritage as a deep source of stories, noting that films like “Ne Zha 2” must balance staying true to local mythology while appealing to global audiences. For Behrel, the appeal lies in demonstrating that Chinese films can compete with Hollywood blockbusters and leading animation studios like Disney, Pixar and Japan’s anime industry.
(From left) Chen Yu, Deng Guanghui, Chen Sicheng and Cedric Behrel pose for a photo after the panel roundtable at the 78th Cannes Film Festival in Cannes, France, May 20, 2025. [Photo courtesy of China Film Association]
Chen Sicheng spoke about his role in supporting young talent. He said film industrialization goes beyond visual effects–driven blockbusters, describing it as a systematic process that includes scriptwriting, production, post-production and marketing. Chen sees his company and his role as managing this pipeline to help young Chinese directors become more professional and to provide support where needed.
Discussing his upcoming film “Malice,” which he produced and wrote and is set for release in July, Chen said the story addresses contemporary issues such as online public opinion and cyberbullying.
Chen said problems on the internet are a global issue, not unique to China. Since the 1990s, the internet has driven significant progress but also brought challenges, as voices of authority have been drowned out and irrational opinions have come to dominate online discussions, distorting perspectives on politics, culture and the future of humanity.
“While ‘Malice’ can’t fix these problems, films must reflect their time,” Chen said. “This movie will serve as a time capsule of the digital age and preserve our collective memory of these critical years.”
Chen Yu also addressed another trending topic: artificial intelligence. He said AI will achieve significant progress and, as its internal systems become more complex, it may eventually develop a form of intelligence. While he views AI as a tool capable of creating many things, he emphasized that humans remain the true measure of all things. Artistic creation, he said, is driven by human flaws and hesitation – qualities that AI, as a rational tool, cannot replicate.
“When art touches the softest parts of the human soul, AI cannot replace it,” he stressed.
MIL OSI China News –
