After a partial comeback in 2023, Chinese cinema is coming back in a big way at this year’s 77th Cannes Film Festival. Unveiling its 2024 lineup in April, festival head Thierry Fremaux noted that “China has been underrepresented in world cinema for three or four years,” but stressed that their The team can now “enjoy the satisfaction of being with China.” Cinema Country – In Reelection.
China’s transition to the pandemic, which closed the country’s borders until January 2023, was the biggest obstacle the Chinese film industry faced in participating in the West’s biggest cinema events. Beijing’s simultaneous tightening of regulatory oversight of the film sector during this period resulted in a reduction in the production of artistically adventurous films, as well as disincentivising Chinese distributors from importing any Western films into the country. It was more difficult to get permission to make and release. Some in the Chinese industry were also concerned that the Cannes festival’s decision to give a surprise screening of the independent documentary in 2021 would The revolution of our time — a fascinating episode of China’s brutal suppression of Hong Kong’s pro-democracy protest movement — will make participation in future editions of the festival a politically risky prospect.
But Chinese cinema made a comeback to Cannes last year, adding indie titles like Singaporean filmmaker Anthony Chen’s Chinese drama. Breaking Ice And of V Shojin Only the river flows. In the uncertain passage section, with Gang Zihan A song sung blue In Directors Fortnight (Chinese documentary Wang Bing also had two films in the selection, although the director lives outside China and his recent work has been co-produced by European countries).
This year, the official selection spans five titles, art house works, genre filmmaking, and a major commercial film. Cannes favorite Jia Zhangke returns to the main event. Caught by the tide“A very fluid narrative,” in Frémaux’s words, composed of footage Jia has shot throughout China over the past 25 years. A dramatic thriller from veteran Hong Kong director Peter Chan The object has no name., starring Zhang Ziyi and recreating the infamous story of China’s fledgling women’s rights movement, is expected to be one of China’s biggest summer blockbusters and premiere out of competition at Cannes. happening Other choices include guan hose. black dog In uncertain terms, yes An unfinished film In the Special Screening section, and Sui Chiang’s action flick Twilight of the Warriors: Into the Walls Taking up a slot in the midnight screening genre sidebar.
“For me, coming back to Cannes to screen my first film in six years – especially after the difficult years of the pandemic – feels like I’m finally returning to the world of cinema,” says Jaya. , who was last in Cannes. Cannes in 2018 with competition entries Ash is the purest white..
With a strong crop of Chinese titles in the selection—as well as the ongoing post-pandemic recovery of the Chinese box office—total theatrical revenue is currently 2.5 percent higher than in 2023, and many analysts believe China has North America. has a shot to finish as the world’s greatest. Box office territory in 2024 – Cannes Marche du Film will promote international sales of Chinese titles. However, Chinese buyers of foreign films are expected to be much smaller and more selective than during the country’s box office heyday in the 2010s.
From Hollywood tentpoles to European festival titles, Western filmmaking’s share of China’s box office pie has been declining for generations, and some in the industry expect a return to the 30-40 percent market share that international Films Claimed Last year, international film releases made up just 16 percent of China’s $7.73 billion annual box office – and the biggest imported hits were Japanese anime releases.
Veteran Chinese buyer Cindy Mi Lin, whose Beijing-based company Infotainment China Media, recently released an American documentary. Kim’s videoA sleeper hit at Sundance, says it has decided to focus on securing remake rights at Cannes this year instead of importing American and European films.
“We decided to acquire the rights and remake them as Chinese films because we believe that releasing foreign films will be a challenge for a long time to come,” she says, adding that recently 479 million. Dollar (RMB 3.4 billion) Chinese director and star Jia Ling noted the box office success YoloA remake of the 2014 Japanese film 100 yen love.
A select set of seasoned Chinese buyers still believe that some Western films can thread the needle on China’s regulatory and commercial landscape.
“The Chinese public is increasingly demanding more in terms of quality. This is good for distributors like us who are focusing on high-end cinema,” notes Julien Favre, VP of Chinese distributor Road Pictures. , which won the Cannes Palme d’Or last year. Anatomy of a Fall. Road Pictures released the film in March and saw it gross just $4 million (RMB 28.3 million), making it the third-biggest box office territory behind China, France ($14.6 million) and North America ($5 million). .
Favre adds: “As far as Western content is concerned, the challenge is to find international films that have universal appeal, that can cross cultural divides and focus on themes with Chinese audiences. For films that manage to hit that target, the potential is huge.
For Jia, a consummate artist who has navigated the complexities of being the face of independent Chinese filmmaking on a global scale with extraordinary grace, just returning to Cannes is a statement in itself.
“For the past few years, Chinese films haven’t been screened at Cannes, but this year I’m coming back with my latest film, and several other Chinese filmmakers are coming,” he says. “Together, we’re telling the world that we never stopped — we never stopped shooting and we never stopped telling our story. Most importantly, we never gave up.
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