The 5th Beijing Film Festival is taking place from October 1 to 7 this year. It is organized by the Li Xianting Film Fund. The event will take place at Songzhuang Art Center in the outskirts of Beijing.

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Portrait of Mozambique President Armando Guebuza in a Chinese restaurant (Photo: Ella Raidel, IFF Rotterdam)

The International Film Festival Rotterdam has announced an exciting new project where several African directors will make films in China.  We find this a brilliant initiative to bridge two parts of the world that are developing complex new social and economic ties. Additionally, it’s wonderful that IFFR enlisted the Li Xianting Film School in Beijing, the first film school for independent filmmakers in China, to help initiate the African directors into the Chinese independent film scene.  Among its faculty, the Li Xianting Film School features at least a couple of dGenerate directors such as Ying Liang and Yang Jin. This promises to be a wonderful opportunity of artistic and cross-cultural exchange.

The project has already kicked off with a blog by Rotterdam Festival programmer Gertjan Zuilhof, which will follow the project through its many stages. We’ll be keeping tabs on it to see how the participants are progressing.

The full press release from IFFR follows:

Inspired by the growing influence of China in some African countries, the International Film Festival Rotterdam (IFFR) asks seven filmmakers from South Africa, Cameroon, Uganda, Rwanda, Congo and Angola to make films in China. The African directors’ films will premiere, along with a contextual film program, during the Rotterdam’s 40th edition. The program, titled ‘Raiding Africa’, includes a film workshop produced by the IFFR in collaboration with the Li Xianting Film School in Beijing and supported by Rotterdam’s Hubert Bals Fund.

More after the break.

In 2009 the IFFR undertook an extensive research trip to countries in Eastern and Central Africa. The result was the IFFR 2010 ‘Forget Africa’ program consisting of the African films found during the research and of thirteen commissioned films by international filmmakers presenting their first view on Africa. The IFFR did meet many young and talented directors who had learnt film making in small initiatives or collectives. The reasons that they haven’t been picked up internationally were various, but most of them practical; no subtitling, no funding, no international network. The films the IFFR showed from these young filmmakers are now being picked up internationally.

The ‘Raiding Africa’ program aims to stimulate the exchange of cultures, to support the careers of the African directors included in last year’s ‘Forget Africa’, to create a situation in which the Africans are informed about Asian independent low budget filmmaking and to allow them to work internationally. The filmmakers taking part are:

-       Omelga Mthiyane, South-Africa (Thank You Mama)
-       Emile-Aime Chah Yibain ‘Ancestor’, Cameroon (The Way to the Cross)
-       Ssenkaaba Samson ‘Xenson’, Uganda (Creation Lab)
-       Caroline Kamya, Uganda
-       Yves Montand Niyongabo, Rwanda (Maibobo)
-       Amour Sauveur, Congo-Brazzaville (Coupable)
-       Henrique Narciso ‘Dito’, Angola (A guerra do Ku-Duro)

For ‘Raiding Africa’, the IFFR and Li Xianting Film School in Beijing organize a film workshop this summer in Beijing. During the workshop the seven young African filmmakers are teamed up with experienced Asian Chinese-speaking filmmakers. The mentors taking part are Chinese filmmakers Ying Liang (Taking Father Home) and Sheng Zhimin (Night of an Era), Beijing Film Academy teacher Zhang Xianmin, Tiger Award winning Thai filmmaker Anocha Suwichakornpong (Mundane History), Singaporean filmmaker Sherman Ong (Flooding in the Time of Drought) and China-based Dutch filmmaker David Verbeek (RU There).

Rotterdam programmer Gertjan Zuilhof, who curated ‘Forget Africa’ and is now working on ‘Raiding Africa’ together with assistant-programmer Inge de Leeuw states: “One of the big issues of our time is the domination of the Chinese in some African countries and their absence in daily life. So the idea is to ask African filmmakers to make a movie in China and to get to know more about the people that live behind gates in their continent. This new project turns ‘Forget Africa’ around and gives the filmmakers involved the chance to take a close look at the Chinese as well as to get experience in international low budget digital filmmaking.” The upcoming months, Zuilhof will file regular updates on ‘Raiding Africa’ on his blog on the IFFR website.

Rotterdam’s Hubert Bals Fund is contributing financially to ‘Raiding Africa’. The project fits its current focus on African cinema. Given the limited possibilities for professional film training in many African countries, the Fund regards ‘Raiding Africa’ as a valuable opportunity and experience for this group of talented young African filmmakers.

‘Raiding Africa’ is developed and produced by the International Film Festival Rotterdam.

Partner China:
Li Xianting Film School, Beijing

Supported by :
Hubert Bals Fund, Netherlands
Göteborg Film Fund, Norway
Festival Cinema Africano, Asia e America Latina, Italy
Durban International Film Festival, South Africa

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The Iberia Center for Contemporary Art, Home of the Chinese Independent Film Archive (Photo courtesy of Iberia Center of Contemporary Art)

By Shelly Kraicer

Whenever I am interviewed about Chinese independent cinema, the question that comes up more often than anything else is “Can these kind of films be shown in China?”

The situation is changing, rapidly, and in substantial ways. The answer used to be “Yes, sort of”.  Now, it’s “Yes, most definitely”.

Independent films, i.e. films made outside the government censorship system, can’t be shown in regular commercial movie theatres.  When I arrived in Beijing back in 2003, one had to do a bit of investigative work to find screenings; at art galleries, a few bars and cafes, and occasionally on university campuses: all low- to zero-profile events.  Now, though, there is, if not exactly a profusion, then something like a blossoming of screening opportunities for “unauthorized” Chinese indie films.

One such event, which I attended in early April, provides a handy opportunity to sketch out a provisional, though hopefully not too superficial overview of the Chinese independent film scene.

The Chinese Independent Film Archive (CIFA) organized their first annual film festival from 29 March to 19 April this year.  Called “What Has Been Happening Here”, the festival took place in the CIFA’s headquarters at the Iberia Center for Contemporary Art, in Beijing’s 798 Art District.

The comprehensive exhibition was well organized and impressively curated.  There were several sections: one featured screenings of new Chinese independent DV films; one provided a smartly chosen and extremely useful overview of the history of Chinese DV films from its origins in the 1990s to now; one provided a retrospective of films made by Jia Zhangke’s company XStream Films, and the directors associated with it (Jia himself, his regular d.p. Yu Lik-wai, Emily Tang, and Han Jie); and a final section offered selections from the last ten years of experimental/avant garde DV work.  Accompanying these screenings, which ran morning to evenings daily for 21 days, was an exhibit in the Iberia Center capacious gallery space that surveyed the indie film scene in China today.  It highlighted the six key organizations involved in producing, distributing, and exhibiting the films, with supporting documentation, videos, artifacts, and a rich selection of materials.  The institutions featured were:

• Chinese Independent Film Festival (CIFF)
• Fanhall Films
• Li Xianting’s Film Fund
• Beijing Indie Workshop
• Caochangdi Workstation
• Yunnan Multi Culture Visual Festival (Yunfest)

First, a word about CIFA itself.  It is a non-profit academic institution, founded in 2008, devoted to “sorting, collecting, and promoting” contemporary Chinese independent films.  The CIFA underlines that it is a non-governmental film archive, in implicit distinction to the PRC’s China Film Archive, the very official, bureaucratic national institution devoted to safeguarding official, approved Chinese cinema.  The CIFA’s director, Zhang Yaxuan, is an expert on Chinese independent documentaries and a film maker and producer herself.  The facilities of CIFA within the Iberia Art Centre at 798 include a spanking new screening room of 79 comfortable seats.  The excellent projection and sound equipment — the finest yet that I’ve encountered in a Chinese non-commercial venue — suggests that the CIFA is well enough funded not to skimp on necessities.  The screenings themselves were well-run (though there was occasional trouble getting the projection ratios right, necessitating your correspondent dashing to the projection booth to discuss the accuracy of the watermelon-shaped heads on screen).

The Chinese Independent Film Festival was founded in 2003.  It is located in elegantly livable, gracious Nanjing, one of China’s most important intellectual centres, and features an annual festival of all genres of Chinese independent cinema (features, documentaries, shorts).  CIFF has since 2007 instituted a juried competition section.  Run in conjunction with the Nanjing RCM Art Museum, the CIFF uses a variety of venues around Nanjing to show an excellent selection of what their programmers (including Zhang Xianmin and Cao Kai) consider to be the year’s best Chinese indie films, based on their mission to support “independent spirit, openness, inventive in form, forward thinking” cinema.  I’ve attended the 2007 edition, which offered a relatively low-key but well-attended series of concurrent screenings over about a week (in 2008 the festival took place in late September).  The discussions after the films, and among the filmmakers, though, were anything but low key: the festival cultivates a real sense of intellectual energy and ferment.

Fanhall Films, run by Zhu Rikun, is a multi-faceted indie film support organization based in Songzhuang Arts District, a distant eastern suburb of Beijing.  Fanhall started as a website and online discussion forum and has broadened into film production and distribution.  They have produced a series of indie films, released (authorized) DVDs in China of unauthorized films (a neat trick, and a good subject for a later post), and sponsor the China Documentary Film Festival and the Beijing Independent Film Festival (each annually, in Songzhuang).  They also constructed, last year, a comfortable medium-sized screening room, above which is a spacious cafe and small exhibition space.  The trip out to Songzhuang is long (a grueling 2 hours plus by bus from the centre of Beijing), but Zhu Rikun and his staff take advantage of the community feel provided by the artists village at Songzhuang, and invite directors to spend the week during their festivals.  Community-building is a vital part of their agenda.  For more detail on the 2008 version, see my first blog entry.

Also based at Songzhuang, and closely supporting Fanhall’s film exhibition events, is the Li Xianting Film Fund.  The fund was started in 2006 by the famous art critic Li Xianting, who raises funds from artists, now outrageously prosperous in the international art market, whom he supported in the 1980s and 90s.  The fund is building an archive of independent films to support the work of researchers and filmmakers, publishes a journal, and provides grants for the development, production, and post-production of new film projects.  It also co-presents the Beijing Independent Film Festival and the China Documentary Film Festival with Fanhall Films.

Beijing Indie Workshop was founded by Beijing Film Academy professor Zhang Xianmin in 2005.  A non-profit organization supporting indie filmmakers, Indie Workshop provides equipment and post-production facilities for impecunious filmmakers, produces films, and organizes a continuing series of informal screenings and rigorous discussions of recent works (I’ve been fortunate to attend a few, which combine an intellectual salon flavour with organized film appreciation — participants are encouraged to fill out scorecards and give ratings for each film screened).  It also works to connect new filmmakers and films with foreign festivals, curators, and researchers.

Caochangdi Workstation was founded in 2005 by documentary filmmaker and theoretician Wu Wenguang.  It is made up of his Documentary Studio, the Living Dance Studio, and the Beijing Storm Company.  It provides a space for video and performance art, supports the work of filmmakers, and hosts a series of film, video, and performance exhibitions and festivals at its space in Caochangdi, a suburb of Beijing close to the 798 Arts District.  This year, CCD are hosting a May Festival of performance (works from their 2009 Young Choreographers’ Project) and film (a Documentary Forum).  CCD’s workshops include support for an ongoing series of films called the Villager Documentary Project (documentaries made by people living in Chinese villages, provided with technical and organizational support by CCD Workstation).

The Yunnan Multi Culture Visual Festival was launched in 2003, and is bi-annual.  It’s a documentary film festival based in Kunming, Yunnan, featuring screenings of Chinese and foreign documentaries, a documentary competition, and seminars bringing together Chinese and foreign documentary filmmakers.  Yunfest was founded with a strong anthropological-documentary film bent, and still has a section devoted to these films.

I’m tempted to try to compare the programming philosophies of the various festivals, but hesitate to generalize without enough data.  So I only offer this as a very tentative, provisional sketch, and really invite comment or correction (see the comment link below).  BIFF/CDFF tend, I’d say, to emphasize the political role of cinema, film as social critique and as agent for social/political change.  They are willing to push the edge, sometimes quite a bit, on political content, though are savvy about keeping a low enough profile to get away with some programming risks.  CIFF in Nanjing, while supporting these films too, seems to put equal or greater emphasis on film as art, and championing films that are formally innovative and  aesthetically risky.  CIFA, at least in its first incarnation, builds a historical context, and has an interest in defining something like a canon of Chinese independent cinema.  But I’m really reluctant to over-generalize, and genuinely welcome suggestions on how to clarify the above suggestions.

Chinese film events are obsessively self-documenting: there’s always at least one person from the organization filming everything that goes on.  So that’s good news if you are doing research in the field; there should be resources available if you want to follow Q&As, panel discussions, and directors’ comments from any of the events.  It’s not quite like being there, though.  One does have to attend these festivals to really get a sense of the ferment, energy, seriousness (lots of seriousness) and dedication that the small communities of Chinese filmmakers and their supporters bring to their activities.  Which, in this time of slumps (both economic and creative, cinematically speaking), is a terrifically encouraging thing.

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