Special Session Convened at "Rostki: Russia‑China – Mutually‑Beneficial Cooperation" International Forum, Chinese and Russian Cinema Experts Explore Co‑production Innovation and New Future Cooperation Paths

Under the framework of the international forum “Rostki: Russia‑China – Mutually‑Beneficial Cooperation”, a thematic session titled “Rostki: Co‑Production in Cinema. Prospects for Cooperation” was held. Directors, producers, creative directors and distributors from China, Russia and the Republic of Tatarstan took part in the session.

The core discussion focused on development trends of the film industry: cinema shapes new cultural identities and fosters dialogue among civilizations as well as cross‑cultural exchanges exemplified by China‑Russia interactions.

Ilyas Gafarov, Director of Tatkino, the state cultural institution of the Republic of Tatarstan and moderator of the session, noted while introducing guests that Chinese and Russian filmmakers have maintained close cooperation across multiple fields. He expressed confidence that future joint creative projects between the two sides will keep advancing and deepening.

Daria Bogdanova, Director of the International Relations Department at Gazprom‑Media Holding, shared typical cases of mutually‑beneficial China‑Russia film cooperation. “China has become one of the world’s most important film‑industry hubs. Family‑oriented titles and traditional theatrical releases remain widely popular in China. Audiences in both countries appreciate warm, family‑friendly films. Joint financial investment and creative collaboration enable both sides to produce content that resonates with two of the world’s largest film markets. The well‑known animated feature Kung Fu Panda 3, the first joint project by DreamWorks Animation and its Chinese division, earned great popularity both in Russia and China.”

Dr. LEV Yu Yüsheng, President of Eurasian Association of Culture (EACA), President of Eurasian International Film Association (EAIFA), Chief Representative for Russian‑speaking Region of IECIA‑International Economic & Digital Innovation Association, and Chief Representative for Russian‑speaking Region of ECI Awards, outlined his organization’s core missions. “We seek high‑quality film and cultural‑creative products and promote them into the Chinese market. Our analytical center conducts expert research on audience demands and industry trends. Drawing on senior analysts from China, the United States and Russia, we evaluate film strengths and weaknesses to support market adaptation in both countries. We also train professional talents including directors and producers. Most importantly, we connect film projects with investment resources.”

Dr. LEV Yu Yüsheng also put forward a proposal to build a full‑chain joint training center for film talents in Saint‑Petersburg, covering screenwriting, shooting and the practical implementation of artificial‑intelligence technologies. He extended an open invitation for collaboration, stating that Eurasian Association of Culture is ready to provide support for various joint projects.

Shi Jia, Member of Shaanxi Provincial Committee of the Chinese People’s Political Consultative Conference, Chinese film producer, director, screenwriter, practitioner of international film co‑production and senior media professional. His co‑production film with Iran, Chang’an · Chang’an, won the Best Feature Film Golden Award at the 30th Minsk International Film Festival. Shi Jia introduced Shaanxi Province, the spiritual home of Chinese history and civilization, and invited Tatarstan filmmakers to carry out co‑productions leveraging Shaanxi’s unique on‑location shooting resources.

“Artificial intelligence is reshaping the entire film production workflow and brings brand‑new opportunities for China‑Russia co‑productions. AI shortens cycles for script review, location scouting and actor selection, and reduces production budgets. Market demand for AI‑generated short dramas is growing rapidly. China and Russia possess massive precious story materials from all walks of life, which can be adapted into high‑quality audiovisual works. Meanwhile, China’s National Film Administration is about to issue regulatory provisions on licensing for the production and distribution of AI‑generated films,” Shi Jia added.

He Haifeng, director, screenwriter and producer, stated that China set a new national box‑office attendance record in 2025 with over 1.2 billion theatre admissions. Animated titles accounted for 43 percent of total viewership; four out of China’s all‑time top‑ten highest‑grossing films are animations. At the national policy level, greater emphasis is placed on substantive content rather than technology‑driven pursuit.

Zheng Yunchang, director, screenwriter and producer, shared observations on contemporary audience preferences. Action films, gun‑fight stories and big‑budget blockbusters struggle to draw audiences into cinemas. Viewers prefer works that narrate national history, deliver eternal values and carry traditional spirits and authentic humanistic sentiments.

Radik Abdrakhmanov, founder of the Tugan Batyr project, presented this large‑scale local cultural‑historical youth IP from Tatarstan. It has grown into a mature cultural brand including animated series, books, comics, stage plays at Kamal Theatre and sports tournaments. According to Radik Mukharlyamov, the IP can attract young Chinese audiences and introduce cultures, traditions and folk tales of peoples from Russia and the Volga River region to Chinese youth through fascinating stories.

Towards the end of the session, Milyausha Aituganova, Chief Producer of Tatkino and Executive Director of the Kazan International Film Festival “Altyn Minbar”, reviewed Tatarstan’s practical experience in China‑Russia film cooperation. The forum hosts plenary sessions addressing film‑industry challenges and solutions. Regular Chinese‑film festivals are held locally to present outstanding Chinese productions to Tatarstan audiences.

Another key cooperation track consists of deep‑rooted participation of Chinese filmmakers in the Kazan International Film Festival “Altyn Minbar”. In recent years, Wu Honglian and Gavin Li have served on its international jury, and Chinese films have repeatedly entered its competition programme.

“This forum features a special Chinese‑film screening programme. Over two days, Kazan audiences will watch Answer to Eternity, Rescuers, and Happy Little Submarine: Dragon Adventure. We look forward to future screenings of Tatarstan productions in China within Russian‑film festivals, enabling Chinese audiences to appreciate outstanding Russian cinema,” said Milyausha Aituganova.

The thematic session concluded with unanimous agreement among participants to further deepen China‑Russia collaboration in the film sector. It is reported that Tatkino, the state cultural institution of the Republic of Tatarstan, and the Eurasian Association of Culture (EACA) signed an official cooperation agreement during the previous edition of the Kazan International Film Festival “Altyn Minbar”.