Beijing International Film Festival —— the image of the national film


The 8th Beijing International Film Festival was held at the Yanqi Lake International Convention and Exhibition Center in Beijing from April 15 to 22, 2018. Its main competition unit includes the “Tiantan Award” selection, opening ceremony, Beijing exhibition, Beijing planning theme forum, film market, film carnival, closing ceremony and awards ceremony. At the same time, it also includes more than 300 activities such as “Looking to the Future” unit, recording unit, online film unit, film concert, movie salon, and new film release. My favorite is the ‘Outlook for the Future’ unit, which includes new films from more than a dozen countries including Iran, Estonia and Japan. And basically after each show, the audience has the opportunity to communicate with the main creative. Most of these films have brought surprises to people.


The Beijing International Film Festival is a very young film festival. In fact, the film festivals throughout Asia have started very late. The Hong Kong Film Festival was founded in 1977, the Tokyo Film Festival was founded in 1985, and Shanghai and Busan began to hold film festivals in the 1990s. The Beijing International Film Festival was held in 2011. For such a film festival in the initial stage, it is unrealistic to demand huge influence. What it needs more is perfect organization and coordination work, more commercial cooperation achievements and popularization of film culture. From this point of view, it is still very promising. Online ticketing has brought it into the public’s field of vision and brought a large number of customers; it has gathered more than 500 exhibiting films and influential judges from nearly 100 countries.

At the Beijing International Film Festival’s “Movie Risk Assessment and Risk Control” forum, Yin Hong, director of the China Film and Television Communication Research Center, pointed out that to run a national film festival must have two elements: authority and participation. A successful film festival should have the difference and recognition of existing international film festivals and establish its own authority. In my opinion, the Beijing International Film Festival is improving its international influence. It is not only internationally enhanced, but also has good openness and inclusiveness. In addition, a huge market needs to have a matching film festival and movie trading market. This is the responsibility and obligation of the Beijing International Film Festival, and it is also the opportunity and potential for its development. As one of the most important sections of the Beijing International Film Festival, the film market segment has been aiming at the development of the film industry chain since the first session, focusing on building a domestic leading, world-class film element exchange platform and project venture capital trading platform. It continues to create new markets, new brands and new benefits for the development of the Chinese film industry.

The Beijing International Film Festival is an important opportunity to shape the image of the national film. It gives China the opportunity to invite internationally outstanding films and better display their own movie treasures. I found that this film festival has increased the contrast between film cultures in different countries. For example, this year’s comedy theme shows different comedy styles and important comedy authors from different countries. Among them, the special topic of “Beijing-style comedy” was opened, and the works of directors such as Feng Xiaogang were screened to guide the audience on how to treat Chinese film’s own creation in the context of the comedy type as a whole. At the same time, it also highlights Beijing itself as a film production place, or the presence of the place where it exists.

Today, Beijing has become an Asian film production center. As a capital, Beijing can represent the country, and it is also the political and cultural center of China, a famous city with a long history, and the cultural context of its own city. Relatively speaking, it can appear in the form of a ‘three in one’, both in Asia and China, and also in Beijing itself. This feature has a double-edged sword effect on film curation. On the one hand, it is more susceptible to policies and the industrial situation. On the other hand, it requires a higher macro position for curatorial and design.

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