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

The 27th Shanghai International Film Festival wrapped up with significant wins, notably Kyrgyzstan’s film “Black Red Yellow” securing Best Picture. The festival showcased a variety of international films and highlighted the rising importance of AI in cinema, while also expanding its audience reach across Shanghai and neighboring cities.

The 27th Shanghai International Film Festival recently concluded with a vibrant ceremony at the Shanghai Grand Theatre, where filmmakers from various countries were honored with Golden Goblet awards. The event showcased a diverse array of films, reflecting a global cinema landscape, as acknowledged by jury president Giuseppe Tornatore. He remarked how each entry was “unique and magnificent,” distinctly contributing to the festival’s rich tapestry.

Taking home the coveted Best Picture award was “Black Red Yellow,” a thought-provoking work by Kyrgyz director Aktan Arym Kubat. The film, described as a simmering meditation on marriage, received praise for its profound commentary on life. In addition, the Jury Grand Prix was awarded to two films: Japanese director Shinya Tamada’s “On Summer Sand” and Chinese director Wang Tong’s “Wild Nights, Tamed Beasts,” with the jury noting Wang’s debut as a significant new voice in the industry.

The Best Actor award was a foregone conclusion for many, as veteran star Jose Martins earned accolades for his compelling portrayal in “The Scent of Things Remembered,” a film revealing the struggles of an elderly man grappling with his past. Tornatore’s involvement as jury president this year was a fitting choice, especially with screenings of his own film, “Cinema Paradiso,” drawing large crowds at the festival.

Domestic films also made waves at the festival. Cao Baoping won Best Director for his exuberant comedy “One Wacky Summer,” and Qiu Sheng received the artistic achievement trophy for his thought-provoking AI-themed drama, “My Father’s Son.” In the Asia New Talent section, newcomer Bian Zhou impressed the audience with his sweeping epic, “As the Water Flows,” which garnered acclaim from local critics.

European filmmakers similarly made a strong impression. Germany stood out in the main competition with heartfelt films such as “Luisa” by Julia Roesler and the hilarious “You Believe in Angels, Mr Drowak?” by Nicolas Steiner. Several notable side films from Germany also caught the attention of festivalgoers. The clear trend at this year’s festival was the palpable influence of artificial intelligence in cinema, which was prevalent across screenings and discussions.

The festival organizers made a concerted effort to broaden the event’s reach this year. With around 400 titles screened across 40 venues in Shanghai and nearby cities, including Hangzhou and Nanjing, the festival catered to a wide audience. Initiatives such as the “ticket-stub economy,” where attendees could trade their stubs for exclusive merchandise, even encouraged more engagement from the local community.

Director Peter Chan, whose film “She’s Got No Name” opened the festival, emphasized the significance of Shanghai in the historical context of Chinese cinema. He expressed hope for a renaissance in the city’s film culture, underscoring the festival’s role as a bridge connecting filmmakers and audiences. This ambitious vision encapsulates SIFF’s commitment to not just celebrate cinema but to actively cultivate a vibrant film environment.

The 27th Shanghai International Film Festival highlighted a diverse range of films, from Kyrgyzstan’s “Black Red Yellow” winning Best Picture to several notable domestic productions. With an emphasis on artificial intelligence and innovative engagement strategies, the festival reflects a dynamic cinematic landscape marked by global and local influences. As the festival continues to evolve, its dedication to connecting filmmakers and audiences suggests a promising future for cinema in Shanghai.

Original Source: www.hollywoodreporter.com