“SIFF has provided a timely stage for the industry to unleash development capacity and for filmmakers and institutions to release latest achievements,” said Wenquan He, general manager of the Shanghai International Film and TV Events Centre. And among the smaller Asian markets represented this year were Laos, with the horror The Signal, and Uzbekistan, which won the Asian New Talent section with domestic drama Sunday - a surprise that pretty much literally left its director Shokir Kholikov speechless. But organizers in Shanghai have walked away pointing to the connections the festival did manage to make within the large slice of the global film community that was present. and South Korea - as fractious diplomatic relationships continue to shadow events in China. Look hard at the program and you’d have noticed two markets conspicuous by their absence - the U.S. The festival also saw crowds return - there were apparently more than 300,000 tickets bought within an hour of sales coming online - and fans flocked to catch a glimpse of international A-listers including Michelle Yeoh, Jason Stratham, Chow Yun-fat and Zhang Ziyi. Overall, SIFF selected 53 films from across the globe to contest its five main Golden Goblet sections - the main competition, Asian new talent, documentary, animation and short film categories - and by the time the curtain came down Sunday there had been more than 450 films screened across the festival’s 10-day run. It’s so unreal - as if we’re in a dream.” “Today, the wish comes true, and we are standing here right now. “Kikuchi and I have been thinking about working together for about 20 years,” said Kumakiri. The jury applauded a “special film” that tells the story of a middle-aged woman (played by past Oscar-nominee Rinko Kikuchi, of Babel fame) whose father’s death forces her to interact with people, following two decades of isolation from society. Kumakiri’s Yoko picked up the festival’s best feature film, best actress and best screenplay awards in the Golden Globlet’s main competition on Saturday night. Japanese director Kazuyoshi Kumakiri was certainly swept up by the occasion, as China’s major festival event marked a return to normalcy - and a return of international guests - after the travel restrictions and assorted uncertainties of the global pandemic. Banijay's New Head of Scripted Christian Wikander on the Opportunities Behind TV's "Big Shift" and Why Producers Need to See AI as a "Tool in a Toolbox"
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