On August 23, the 8th "New Forces in Chinese Film" Forum was held in Changchun, Jilin Province. The forum thoroughly studied and implemented the important letter from General Secretary Xi Jinping to Tian Hua and eight other film artists. Cao Lubao, member of the Standing Committee of the Jilin Provincial Party Committee and Minister of the Propaganda Department, and Mao Yu, Deputy Director of the Film Bureau of the Central Propaganda Department, who oversees daily operations, attended the forum and delivered speeches. Qin Zhengui, Deputy Director of the Film Bureau of the Central Propaganda Department and Director of the Film Script Planning and Design Center, delivered a concluding speech. Lu Liang, Deputy Director of the China Film Archive and Deputy Director of the China Film Art Research Center, Sun Xianghui, President of the China Taiwan and Hong Kong Film Research Association, and Zuo Heng, Director of the Film Culture Research Department of the China Film Archive, presided over the forum.
In his speech, Cao Lubao noted that this year marks the 80th anniversary of Changchun Film Studio and the 20th Changchun Film Festival. From Changchun Film Studio's pioneering of a "new tradition" of people's cinema to its recent releases of masterpieces like "731," "Survival," "Eye on the Throne," and "The Forged Soul of Han and Tibetans," Jilin's connection to film has always been closely tied to "new forces." "I hope all artists will use this forum as a starting point, making Jilin's snowy plains the stage for their stories and the Northeast's urban life the fabric of their narratives, allowing more works with substance, morality, and warmth to emerge from this forum and reach the broader screen."
Mao Yu, deputy director of the Film Bureau of the Central Propaganda Department, who is in charge of daily work, delivered a speech
In his speech, Mao Yu said, "From this year's popular films like 'Nezha: The Devil Child Conquers the Dragon King,' 'Nanjing Photo Studio,' and 'The Little Monsters of Langlang Mountain,' we've seen that creatives like Jiaozi, Shen Ao, and Yu Shui, who are full of vigor and imagination and have their feet firmly planted on the Chinese soil, are pushing the boundaries of creation with unprecedented courage, demonstrating the new creativity and market appeal of young Chinese filmmakers through their works. We are also pleased to see a group of younger creators born after 2000 emerging in recent film exhibitions and venture capital."
"New Power of Chinese Film" Exhibition
"This inexhaustible, ever-lasting power is the most solid foundation for the future of Chinese cinema! Faced with opportunities and challenges such as generational shifts in audiences, accelerating technological revolutions, dramatic changes in the competitive landscape, and the call of national strategy, Chinese cinema is more eager than ever to integrate 'new forces' in a more comprehensive, in-depth, and innovative way."
Chinese cinema has come a long way, illuminated by glory and dreams, but also fraught with difficulties and setbacks. "We must deeply understand that film is not only healthy entertainment, but also a vital vehicle for documenting social development, reflecting the complexities of human nature, and inheriting the essence of culture. Its viewing format best aligns with the inner needs of humanity, providing a unique public space where audiences, in a closed, dark environment, can engage in a sincere and candid soul-to-soul encounter, gaining the kind of deep reflection, aesthetic experience, and emotional elevation rarely found in ordinary life, while also transcending the limitations of life. This is the unique advantage of film. Whether or not we can produce such films is a test for filmmakers and, even more so, for the new forces of cinema."
"We must firmly grasp the central link of producing high-quality films and remain convinced that film remains the highest form of human storytelling and the shining jewel in the crown of human art. We must also firmly believe that the film industry is based on works. Good films will surely bring audiences back to the cinema and win the audience's applause."
At the end of his speech, Mao Yu gave an earnest message to the "new forces": he hoped that everyone could become a creative force that embraces new audiences and delves into the future; become a new force that embraces technological change and explores unknown areas; become a new force that sticks to culture in the face of fierce competition; become a new force that has the ability to solve current key difficulties and realize the dream of becoming a film power.
Forum site
The forum was themed "From Life to Audiences—Film and Audience Together." Young filmmakers including Dai Mo, Xu Luyang, Yang Zi ( director of "Chasing Shadows": "Hard Kung Fu" creates a film's most valuable quality ), Lai Mukuan, Yu Shui ( director of "Little Monsters of Langlang Mountain": "I firmly believe that theatrical cinema will not decline "), Huang Heyu, Yu Ao, Zhou Tienan, Shi Chaoqun, Zhang Ke, Dong Runnian, and Huang Zihuan shared their creative reflections on topics such as realistic filmmaking, innovation in animated films, and audience changes and innovative expression. Fellow "new forces" like Yu Zhou, Zhang Miao, Li Zao, and Cong Fangbing also shared their film concepts and insights gained through their collaborations.
“Transforming historical memory into constructive real force”
Before writing the script for the film "Nanjing Photo Studio," screenwriter Xu Luyang had collaborated with director Shen Ao several times. He explained that after researching and comparing previous films with similar themes, they both agreed that creating a refreshing experience for the audience required creating a sense of contrast. "This is an indoor film, with a very small cutout and a large background. The contrast lies in the fact that this 'outdoor' world is the Nanjing Massacre as presented in history textbooks, but the audience is presented with a microscopic slice of it."
Poster of Nanjing Photo Studio
In terms of specific operations and design, they relied on real historical events, highly condensed the timeline, and boldly set the protagonist "must not be an apprentice working in a photo studio", but "someone who doesn't know how to develop photos", using an "alienation perspective" to connect the relationships between characters that are destined to meet. At the same time, they used a "common people's perspective" to focus on ordinary people inside and outside the photo studio: whether it is the postman Achang, the owner of the photo studio Jin, the actor Lin Yuxiu, the translator Wang Guanghai, etc. Although these characters are fictional, the symbols and portrayals of their identities and spirits are all representative and have contemporary references. "It is these characters that make the grand narrative tangible and perceptible, so that today's audiences can no longer examine that period of history with an indifferent attitude, and cannot ignore the practical significance it contains."
Xu Luyang
"A successful historical film must transform historical memory into a constructive force for reality." Regarding some recent erroneous narratives surrounding the War of Resistance Against Japanese Aggression, Xu Luyang stated that safeguarding history is not about perpetuating hatred, but about using truth as a weapon to sever the possibility of repeating past mistakes. "We use concrete visual narratives to inject emotional warmth and moral weight into abstract historical cognition, building a fortress against the erosion of historical nihilism. Through the mirror of history, we can more clearly examine the times we live in and calibrate the inner course of each of us."
Zhang Ke
Zhang Ke, who has written numerous blockbuster films in recent years, including the "Volunteer Army" series, is also one of the screenwriters for "Nanjing Photo Studio." He added in his speech that a successful film must connect with the audience both aesthetically and emotionally. "Aesthetically, we pursued extreme authenticity. From set design to costumes and props, we strived to accurately restore the historical style and transport the audience back to that war-torn era. The recreated ancient streets and photo studios of Nanjing, every brick and stone, every door and window, carries memories. Furthermore, the incorporation of regional elements such as local dialects and nursery rhymes creates an immersive historical atmosphere and enhances the sense of immersion."
"In terms of audio-visual expression, we pursue restrained power and profound implications. We avoid excessive exaggeration of blood and violence, and instead convey emotions through light and shadow, color and composition. The dark and depressing tones symbolize the heaviness of the haze of war; and the appearance of a touch of bright color represents eternal hope. For example, the plot of 'traveling a thousand miles a day' seems simple, but it contains our deep affection. Through pictures of scenic spots from all over the motherland, the audience's shocking cry is finally expressed through the mouths of the characters: 'We will not give up an inch of our great land!' We can see the extraordinary in the ordinary and hear thunder in the silence." Zhang Ke said.
Realistic pursuit + standardized collaboration, "Nezha 2" achieves open source technology in the industry
Shi Chaoqun, visual effects supervisor for both Nezha 1 and 2, shared his thoughts on Nezha 2 from the perspective of visual effects production and industry collaboration. "Five years ago, Nezha 1 pioneered large-scale animation production in China with the collaborative work of 1,600 people. Five years later, the number of special effects shots for Nezha 2 increased from 1,318 to 1,948, involving 138 companies and over 4,000 people. The organizational complexity was comparable to a major battle."
Shi Chaoqun
"Our breakthrough lies in 'realism.' The creative team insisted on ensuring that the visual effects of Nezha 2 approached the realistic texture of a live-action film. Compared to the strongly cartoon-like Hollywood animated works, Nezha 2's scenes were more detailed and realistic, with macro-to-micro shots and an extremely high density of visual effects. However, this also meant an exponential increase in the workload. When we were at our most frustrated, Director Jiaozi's belief inspired us. He always said, 'Set yourself a goal that you can't achieve, and then strive towards it.' Ultimately, this pursuit of excellence fostered a spirit of perseverance within the team, driving everyone to strive for the best results."
The difficulty of creating "Nezha 2" lies not only in the sheer number of shots, but also in how to unify the style of the team, spread across 31 cities and 138 companies, so that "the final painting looks like a single person." Shi Chaoqun's solution is "standardization" and "hands-on instruction."
"We started with templates: For the special effects that frequently appear throughout the film, we created 360-degree panoramic asset templates to ensure ready-to-use by the outsourced team, ensuring scene consistency. We also open-sourced our technology: We distributed proven scene workflows to the entire team to avoid trial and error. We also provided rapid feedback: Every day, we received feedback and technical guidance within a day using screen recordings from teams across the country, effectively teaching them by example. Of course, crucial moments required the creative team's hands-on involvement. For example, the most challenging scene in the film, 'Nezha's Rebirth,' was nearly impossible to achieve with conventional special effects. Ultimately, we used manual K-framing, frame-by-frame adjustments, and the overlay of complex simulations like fluids, flames, and blood. It took over a year to complete this ten-second shot."
Shi Chaoqun explained that animated films are 100% digital creations, requiring a full production process for every shot, resulting in a workload far exceeding that of live-action films. "Therefore, subcontracting is necessary to maximize the advantages of collaboration. Through this continuous subcontracting and collaboration, an animation visual effects industry ecosystem, primarily composed of small and medium-sized companies and studios, has gradually emerged. We are particularly proud of the open-source technology achieved through this collaboration. The white paper and engineering documentation for Nezha 2 have been widely circulated within the industry, enabling the growth of many small and medium-sized companies. This open and shared mechanism is a crucial step in advancing the industrialization of Chinese animation."
Let go of your ego, hone your skills, and have a sincere conversation with a changing audience.
As Generation Z audiences have become the primary audience for movies, young viewers who grew up in the new century are already accustomed to interacting with the world through likes and comments. Dong Runnian, director and screenwriter of "Annual Meetings Can't Stop" and "The Man Caught by Light," believes that these new social and lifestyle habits will inevitably lead to changes in the traditional film industry, which relies more on offline events.
"Today's film and television productions have entered an era of co-creation between creators and audiences. Mobile smart networks have given audiences extensive commentary rights, and convenient editing and AI technologies on computers and mobile phones have achieved equal rights for images, allowing audiences to directly create secondary and derivative works based on films. The massive amount of online comments, likes and dislikes, secondary and tertiary creations, and derivative works created by audiences, together with the film itself, form the complete picture of a work, and the audience's subjectivity is unprecedentedly strong."
Dong Runnian
Dong Runnian believes that the personalities of young audiences, born into the internet, are significantly different from those of the past. "They don't accept condescending instruction from works, nor do they accept deliberate and hypocritical flattery. Instead, they prefer a sincere and direct dialogue with creators. This represents a fundamental shift in the relationship between audience and creator. It's no longer a case of one producing work for the other to appreciate, but a true dialogue between the work and the audience."
"We can't simply say that this era demands works with 'high emotional intensity.' This simplistic attribution can easily lead us to confuse cause and effect when creating. Many successful works first establish a sincere and equal dialogue with the audience, which then fosters mutual understanding and identification with respected audiences, and ultimately resonates emotionally. When approaching a topic, we shouldn't rush into the outcome first, assuming that a certain subject is inherently 'highly emotional.' This can backfire; sensitive audiences can discern the intentions behind your creation."
"As far as I am concerned, to get rid of self-proclaimed professionalism, I must first let go of my ego. The lives experienced by hundreds of millions of viewers, the themes they can access, and the deep emotions they can dig out are far beyond the imagination of professional creators. Only by immersing ourselves in the deepest part of the fertile soil of life can we have the opportunity to keep up with our audience. In terms of creative skills, we must know that the mastery of genre narrative ability is not something that can be passed down naturally. Every creator learns from scratch, and it is impossible to inherit the narrative experience of their predecessors. I call on creators, including film and television educators and learners, to attach importance to the study and training practice of genre narratives. Only by mastering the craft of narrative genres can we make continuous innovative attempts." Dong Runnian said.
“I hope young creators will continue to produce high-quality works that are both elegant and beautiful.”
In the remaining keynote speeches and discussions at the forum, representatives from film technology companies, including Bian Wei, Zhou Yong, Fan Fan, and Wang Muwang, discussed the "Technological Path to the Future." Representatives from the film distribution and exhibition sectors, including Dai Yun, Wang Zheng, Chu Shanxin, and Li Jinbo, offered suggestions for the high-quality development of Chinese cinema, focusing on the "new cinema experience." They all expressed the view that Chinese cinema is at a new juncture of opportunity and that it is crucial to actively promote the "new film infrastructure" of the digital age, continue to explore diversified operations and differentiated development for cinemas, and jointly create new glories for Chinese cinema.
At the forum, senior practitioners and experts and scholars, including Gong Bo, Sun Xianghui, Zhang Ji, Chen Yishui, and Zuo Heng, served as moderators for the roundtable discussions, engaging in in-depth exchanges and discussions with the young filmmakers in attendance. They all agreed that facing new audiences, new technologies, and new competition, and facing the grand blueprint of building a cultural power by 2035, the only way for Chinese cinema to thrive and become a film powerhouse is to embrace change, be bold in innovation, take responsibility, and have a global perspective.
China Film Satisfaction Survey Release Site
At the forum, the China Film Audience Satisfaction Survey and the New Force Film List were also released. From the 2015 Spring Festival to the 2025 summer vacation, the China Film Audience Satisfaction Survey has covered 568 films across 61 film seasons and 67 weekends. Among them, "Nanjing Photo Studio" (88.5 points), "Nezha: The Devil Boy Conquers the Dragon King" (87.3 points), "The Legend of Luo Xiaohei 2" (87.1 points), and "The Little Monsters of Langlang Mountain" (86.9 points) currently rank as the top four films in terms of satisfaction for 2025.
Xue Ning, Deputy Director of the China Film Archive and Deputy Director of the China Film Art Research Center, reviewed the situation, saying, "Over the past eleven years, various data have clearly demonstrated the industry's progress. Take the number of high-scoring films, for example. In 2015, only one film received a high satisfaction rating of 86 or above. By August of this year, that number had risen to five, demonstrating that filmmaking is steadily climbing from a plateau to a peak. This year marks the 120th anniversary of Chinese cinema, and we look forward to young filmmakers continuing to produce masterpieces that combine both elegance and quality."
"Flying Tigers" is scheduled for release on September 3rd; "Volunteers: Bloody Peace" is scheduled for release on National Day.
The list of films featured 34 new films, including "Rescue Flying Tigers," "Volunteers: Bloody Peace," "Survival," "Operation Jiaolong (Special Edition)," "Red Silk," "The Battle of Penghu," and "Starry Dreams." These films will soon be released in the market and meet domestic audiences.
"New Power of Chinese Film" exhibition
The "New Forces of Chinese Cinema" exhibition, held adjacent to the venue, showcased classic works created in their youth by representative directors and screenwriters from different eras. The exhibition focused particularly on the emerging forces of recent years, showcasing the continuity and legacy of Chinese filmmakers over the past 120 years. Mao Yu, Deputy Director of the Film Bureau of the Central Propaganda Department, who oversees daily operations, and Zhang Zhiwei, Deputy Director of the Propaganda Department of the Jilin Provincial Party Committee and Director of the Jilin Provincial Film Bureau, attended the exhibition's opening ceremony.
The forum was hosted by the Film Bureau of the Publicity Department of the CPC Central Committee, organized by the China Film Art Research Center, and co-organized by the Publicity Department of the CPC Jilin Provincial Committee (Jilin Provincial Film Bureau). Nearly 200 people attended the forum, including officials from relevant departments of China Media Group, officials from film units directly under the Publicity Department of the CPC Central Committee, officials in charge of film work from the propaganda departments and film offices of provincial, autonomous regional and municipal Party committees, representatives from state-owned and private film companies, filmmakers, and experts and scholars.
