As fans eagerly lined up for autographs, the Brazilian film director Carlos Saldanha made each moment memorable by adding a personal touch: sketching the beloved parrot from his animated film Rio alongside every signature.
On the opening night of the Brazilian Film Week, Saldanha took the stage to stress how the carefully selected Brazilian films offered a unique opportunity for Chinese audiences to explore Brazil at the Beijing International Film Festival.
Brazil was honored as guest of honor for the festival, held in April, as China and Brazil celebrate 50 years of diplomatic ties this year, and Saldanha was invited to serve as a juror for the Tiantan Award.
“The beauty of cinema lies in its ability to enchant us with visual spectacle and move us with emotional narratives,” said Saldanha, who also directed the Ice Age series. “It is an honor to participate in any institution that celebrates this medium, especially those showcasing the beauty of Brazilian films.”
The Brazilian Film Week was “an exciting opportunity” to showcase the country’s cinematic works, with a diverse selection of films, which drew “an enthusiastic response” from Chinese audiences, said Cui Yan, executive deputy director of the Beijing International Film Festival organizing committee.
The opening film of the week, Retratos Fantasmas (Pictures of Ghosts), instantly captured the audience’s imagination, with the theater filled to capacity. The film’s co-producer, who was present, expressed his delight at how warmly the audience received the film, Cui said.
Saldanha talked of his love for Beijing, saying: “I always find something new to love in any trip to Beijing, from its intimate layers to its grand landscapes, all blending history and modernity. While there are many differences between Beijing and Rio, they share an energy unique to cities with rich cultural heritage, which are always magical settings for storytelling.”
In the film Rio, Saldanha expresses his love for his hometown, infusing vibrant scenes and energetic music to introduce the world to Brazilian culture. One notable element is the inclusion of the Vista Chinesa, a beautiful Chinese pavilion in the city’s Tijuca National Park, built in the early 1900s in tribute to Chinese immigrants to the country.
Saldanha also praised the richness of Chinese cinema, citing Crouching Tiger, Hidden Dragon as a personal favorite. “China has a long record of remarkable films,” Saldanha said, adding that Chinese filmmaking continues to thrive and exert its influence, with recent works such as Lost in the Stars and Brief History of a Family, enriching global cinema.
“My fellow Brazilian filmmakers and I have much to learn from our Chinese counterparts and vice versa,” Saldanha said. “Regardless of our backgrounds, we should all strive to grow and enhance our craft by immersing ourselves in innovative, diverse storytelling.”
As part of cultural exchange, Chinese movies hit big screens in Brazil when the China Film Festival in Brazil opened in Rio de Janeiro earlier this month, featuring a selection of nine Chinese films including the crime drama Endless Journey and the comedy YOLO, an acronym for you only live once.
In recent years, China and Brazil have bolstered their film collaboration, highlighted by a 2017 coproduction film agreement between the two countries and a collaboration deal signed in April by the Beijing International Film Festival and the Rio de Janeiro International Film Festival.
“Despite the differences in culture and background between China and Brazil, the deep exploration of human nature and emotional expression in films resonate universally,” Cui said.
With both countries emphasizing the importance of cross-cultural dialogue, Saldanha expressed his excitement about future collaboration between Brazilian and Chinese filmmakers.
“Movies can bridge cultures by speaking to the universal human experience. I would be thrilled to collaborate with any Chinese filmmaker passionate about creating something that resonates not only with our countries but with audiences worldwide,” Saldanha said.
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