Kyrgyzstan’s ‘Black Red Yellow’ Wins Best Picture at Expanded 2025 Shanghai Film Festival

The Shanghai International Film Festival awarded Kyrgyzstan’s “Black Red Yellow” as Best Picture, while Jose Martins won Best Actor. Notable films included the Jury Grand Prix winners and a focus on AI’s influence in cinema. The festival expanded its reach significantly this year, enhancing audience engagement.

The 27th Shanghai International Film Festival recently concluded with a dazzling awards ceremony at the Shanghai Grand Theatre. The event showcased a diverse array of films, bringing together filmmakers from various corners of the globe, including Kyrgyzstan and Portugal, to receive Golden Goblet prizes. Jury president Giuseppe Tornatore expressed enthusiasm for the festival’s collection of works, stating, “Each competition film was unique… and magnificent.”

Taking home the top honor was “Black Red Yellow,” directed by Kyrgyz filmmaker Aktan Arym Kubat. The jury praised this contemplative work on marriage for its insightful portrayal of life’s complexities, describing it as a reflection of societal fabric. The Jury Grand Prix award was jointly awarded to two films: Japanese director Shinya Tamada’s “On Summer Sand,” a poignant narrative of rediscovery featuring Joe Odigiri, and Wang Tong’s engaging thriller “Wild Nights, Tamed Beasts,” deemed by the jury as the emergence of a significant cinematic voice in China.

The best actor accolade went to veteran star Jose Martins for his role in the Portuguese-Brazil co-production “The Scent of Things Remembered,” directed by Antonio Ferreira. Martins’ portrayal of an aging racist grappling with his traumatic past earned accolades that solidified his place among esteemed talents. Tornatore, successfully heading the jury, had previously filled the cinema halls as screenings of his classic “Cinema Paradiso” sold out within an hour. He encouraged young movie enthusiasts to keep watching films in theaters as he closed the festival with a master class alongside veteran festival head Marco Mueller.

In domestic achievements, veteran director Cao Baoping received the best director award for the comedic romp “One Wacky Summer,” while promising filmmaker Qiu Sheng won the artistic achievement title for his innovative drama “My Father’s Son,” focused on artificial intelligence themes. Additionally, newcomer Bian Zhou stood out in the Asia New Talent section with his sprawling historical work “As the Water Flows,” praised by local critics for its ambition.

Notably, European representation was strong this year at the festival, with Germany offering compelling entries including Julia Roesler’s “Luisa,” a moving depiction of life with disabilities, and “You Believe in Angels, Mr. Drowak?” directed by Nicolas Steiner, known for its surreal humor. The festival also featured several German productions that earned attention from critics and audiences alike.

The influence of artificial intelligence in cinema took center stage, as illustrated by a memorable opening night montage that integrated AI-generated visuals into classic films. Among the highlights was the “Kung Fu Movie Heritage Project: 100 Classics AI Revitalization,” aimed at modernizing iconic films featuring stars like Bruce Lee and Jet Li. Hu Min, director of the China Film Foundation, spoke to the project’s potential for developing a contemporary action film landscape in China.

Despite ongoing discussions in Hollywood about AI’s future role in filmmaking, it appears that China is actively embracing this technology in its film industry. Expanding the festival’s reach across Shanghai was another noteworthy achievement. With screenings in 40 cinemas and participation from neighboring cities such as Hangzhou and Nanjing, festival organizers reached a larger audience than ever before. The initiative also included unique incentives like exchanging ticket stubs for limited-edition merchandise and experiences.

Festival guests and filmmakers were encouraged to engage with audiences, as seen when director Peter Chan visited multiple screenings of his film “She’s Got No Name,” which also premiered on numerous non-SIFF screens in the city. “When cinema in China started, Shanghai was the hub,” Chan remarked, reflecting on the resurgence of cinematic vibrancy in the city today.

The 27th Shanghai International Film Festival successfully celebrated global cinema, highlighted by significant awards such as Best Picture for “Black Red Yellow” and Best Actor for Jose Martins. With an expanded audience reach and a focus on AI in filmmaking, the festival reaffirmed Shanghai’s importance as a dynamic cultural hub. Celebrating both local and international talents, the SHIFF illustrated a bright future for cinema amidst evolving trends.

Original Source: www.hollywoodreporter.com