Kyrgyzstan’s ‘Black Red Yellow’ Wins Best Picture at Expanded 2025…

The 27th Shanghai International Film Festival awarded Kyrgyzstan’s “Black Red Yellow” Best Picture and highlighted works from various countries. Jose Martins received Best Actor for his poignant role in “The Scent of Things Remembered” while notable themes included AI’s influence in cinema. The festival expanded its reach across Shanghai and drew significant international participation, promoting cultural exchange in the film industry.

The 27th Shanghai International Film Festival recently concluded with an expansive range of winners, showcasing talents from diverse regions such as Kyrgyzstan and Portugal. The prestigious Golden Goblet awards ceremony took place in the opulent Shanghai Grand Theatre, where jury president Giuseppe Tornatore lauded the festival’s global representation. He remarked on the uniqueness of each film in competition, emphasizing their collective magnificence.

The top award, Best Picture, was given to “Black Red Yellow,” created by Kyrgyz director Aktan Arym Kubat. The film is a profound exploration of rural marriage, and the jury recognized it for its powerful reflection on the complexities of life. Sharing the Jury Grand Prix were Shinya Tamada’s “On Summer Sand,” a quiet narrative of rediscovered hope, and Wang Tong’s inventive thriller “Wild Nights, Tamed Beasts,” noted as a significant new voice in Chinese cinema.

Best Actor went to Jose Martins for his role in “The Scent of Things Remembered,” where he portrayed an aging man grappling with his past traumas. The actor’s performance was anticipated by many, and he certainly did not disappoint. Tornatore, celebrated for his own classic “Cinema Paradiso,” delivered insightful remarks during the festival, highlighting the importance of cinema.

Cao Baoping took home the award for Best Director for his exuberant comedy “One Wacky Summer,” while rising star Qiu Sheng secured the artistic achievement award for the thought-provoking drama “My Father’s Son,” dealing with artificial intelligence themes. It appears that local filmmakers continue to make an impact at this festival.

This year’s presence of European cinema was notable, particularly from Germany, as the nation presented two compelling entries in the main competition: Julia Roesler’s elegant “Luisa” and Nicolas Steiner’s humorous magical realism in “You Believe in Angels, Mr Drowak?” Germany also contributed several notable side-bar films, broadening its representation.

As cinema evolves, the influence of artificial intelligence emerged as a key theme at the festival. The opening night featured a montage that blended AI-created visuals with classics, while a particular highlight was the “Kung Fu Movie Heritage Project,” an initiative that seeks to rejuvenate classic martial arts films through AI technology. According to Hu Min from the China Film Foundation, this project aspires to redefine modern Chinese action cinema.

This year’s festival, aiming to increase its reach, took efforts to involve more of the sprawling city of Shanghai, which is a colossal 2,448.1 square miles and about 25 million residents strong. Around 400 films were screened across 40 cinemas and extended to nearby cities like Hangzhou and Nanjing. Ticket stubs could be exchanged for exclusive promotional items, encouraging audience engagement.

Moreover, organizers focused on enhancing guest interactions, with filmmaker Peter Chan making rounds to numerous screenings of his opening film “She’s Got No Name.” Chan reflected on Shanghai’s central role in cinematic history, suggesting that the city’s film scene is experiencing a revival today.

Indeed, the festival not only showcases films but also reflects changing dynamics in the world of cinema, as it continues to draw international attention through both innovation and cultural exchange.

The 27th Shanghai International Film Festival celebrated a diverse range of filmmakers, with Kyrgyzstan’s “Black Red Yellow” taking the coveted Best Picture award. Highlights included strong performances and innovative themes reflecting the evolving landscape of cinema, such as the growing influence of AI. The festival’s expansion within Shanghai and neighboring cities illustrates an effort to deepen audience engagement and connect with a larger community. Overall, this year’s festival not only showcased films but also highlighted the intersection of tradition and modernity in cinema.

Original Source: www.hollywoodreporter.com