BEIJING– In 2025, the Belt and Road Initiative will celebrate 12 years of global cooperation between more than 150 countries. Beyond trade and infrastructure, its heartbeat lies in bringing people closer together.
Film, as a universal language, has emerged as a medium for cultural exchange. To advance this vision, the Silk Road International Film Festival ( SRIFF) was launched in the very year the initiative began, weaving stories that unite cultures along historic trade routes.
This year, the festival takes place between September 22 and 26 in Fuzhou, Fujian Province, under the theme “Silk Road Connects the World, Film Festival Illuminates Fuzhou.”
SRIFF Fosters Understanding Across the Silk Road
Unlike other global film festivals, SRIFF places a special focus on countries along the Silk Road. This focus reflects the festival’s mission to carry forward the ancient spirit of connection by providing a stage to showcase each nation’s unique culture and charm, while fostering trust, respect, and mutual understanding among countries.
This is where cinema becomes more than entertainment. It has become a bridge of understanding. Through stories that resonate emotionally, films allow audiences to step into different cultures, societies, and experiences.
As acclaimed director Christopher Nolan once noted, cinema is not only about telling a character’s story, but it’s about letting audiences see the world through that character’s eyes, and ultimately understand them on a deeper level.
A Golden Opportunity for International Films
China’s film market is vast and has become one of the most important markets for international cinema. As the world’s second-largest box office, it generated about $5.56 billion in revenue, second only to the U.S. and Canada, according to Forbes. With more than 90,000 cinema screens, the largest network worldwide, China represents a remarkable opportunity for filmmakers.
Although Hollywood films dominate imports, there is growing space for films from Silk Road countries in the Chinese market. Chinese audiences are open to global storytelling, as seen in successes like Bad Genius (Thailand, 2020), A Place Called Silence (Malaysia, 2022), and No Prior Appointment (Iran, 2025).
In this context, SRIFF plays an essential role. This year, nearly 90 domestic and international films are being screened across nine cities in Fujian Province.
Selected from 2,560 submissions spanning 120 countries and regions, the lineup honours the 120 th anniversary of Chinese cinema, highlights works from countries along the Silk Road, such as Whispers in the Dabbas (Indonesia, 2025) and Close up Kopitian (Malaysia, 2025).
It offers filmmakers a valuable gateway to China’s massive box office market.
SRIFF Promotes Co-Productions
Entering China’s film market is no small feat, as international films must meet criteria and navigate approval procedures. Co-productions, however, offer a promising solution. Treated as domestic films in both countries, they face fewer distribution barriers, allowing filmmakers to create content that resonates with audiences on both sides.
SRIFF plays a pivotal role in promoting such collaborations, providing a platform for dialogue between filmmakers and policymakers. This year, officials from ten Silk Road countries, including Malaysia, Uzbekistan, Indonesia, and Nepal, offered insights into their domestic filmmaking and distribution policies.
Malaysia, for example, offers up to a 35% cash rebate for films incorporating local culture. Dato Kamil Othman, chairman of the National Film Development Corporation, encourages historical co-productions between China and Malaysia, such as stories about Zheng He’s voyages to Southeast Asia, reflecting the shared heritage of many Malaysians with China.
Uzbekistan, with over a century of cinematic history, is producing around 55 historical films, 20 of which are slated for international co-production. The country aims to showcase its world cultural heritage alongside China, offering modern infrastructure, skilled professionals, and cost-effective production opportunities.
Indonesia presents a different kind of potential. While domestic films have dominated its box offices since 2022, the nation, with only 2,300 cinemas and more than 300 ethnic cultures spread across nearly 2000 islands, offers ample room for international filmmakers to invest and explore.
Nepal is also opening its doors. KP Pathak, director of the Nepal International Film Festival, noted that Chinese films such as Up in the Wind (2013) have been successfully shot in Nepali resorts. The country looks forward to co-productions that highlight the Himalayas, ancient temples, and bring Nepali cinema to a global audience.
As the proverb goes, “many hands make light work.” With diverse storytelling, scenic locations, skilled crews, and talented screenwriters, co-productions not only appeal to target audiences but also smooth the path for distribution. In today’s competitive landscape, these collaborations are increasingly essential for filmmakers seeking both creative and market success.
The Silk Road International Film Festival leaves a powerful message: Cinema is not only entertainment, but a bridge that crosses borders. It opens new pathways for co-productions, cultural exchanges, and shared storytelling. Though words may vary, the language of film speaks to every heart. It celebrates diverse civilizations along the Silk Road, bringing hearts closer together across the world.
By Chen Ziqi
