Global filmmakers choose Shanghai for world premieres

Every filmmaker understands the significance of a world premiere. It decides how a film enters the world, who talks about it first, and how its journey begins.

At the 28th Shanghai International Film Festival, all 12 films in the Golden Goblet main competition are world premieres – without exception. This is not a statistical detail. It reflects a deeper shift that Shanghai is becoming a place where films begin their global journey.

The global map of the Golden Goblet

This year's Golden Goblet main competition has brought together a wide international selection. The 12 films are productions or co-productions from Morocco, Belgium, Brazil/UK, Indonesia, Türkiye/Germany, Russia, Germany, Canada, as well as the Chinese mainland and Hong Kong.

While representation from Latin America and Africa still has room to expand, the overall lineup reflects strong global diversity.

Three Chinese-language films were selected: Atlantic Rhapsody by Zhong Kaifeng, The Great Skull by Liu Xiaoyang, and the Chinese mainland–Hong Kong co-production Secret in the Box by Tan Guangyuan.

International entries were equally notable, including The Parking Spot by Louis Godbout, who moved from philosophy teaching into filmmaking; Superbuhei, the debut feature of Josef Brandl, former production designer on The Grand Budapest Hotel; and Turkish director Reis Çelik returning with Night of Blindness, the final chapter of his Night Trilogy.

From Europe to "First in Shanghai"

For decades, the global festival system has been organized around a clear hierarchy of A-list events, with Cannes, Venice, and Berlin at its core. These three festivals have long set the benchmark for international premieres. Films debut there, gain critical attention, and then travel outward through the global circuit.

Festivals outside Europe often played a different role, Shanghai included. Many of its high-profile screenings were Asian premieres – films that had already been launched elsewhere and arrived with established reputations.

That sequence is now changing. Instead of arriving in Shanghai after Europe, more films are arriving in Shanghai first. Not to extend their journey – but to begin it.

This shift is reinforced by scale. SIFF this year received around 4,100 submissions from 125 countries and regions, with roughly 3,000 eligible for competition. Among them, 82 percent were world or international premieres.

This is no longer a programming pattern. It is a preference. And in today's world, the ability to attract world premieres is increasingly regarded as a measure of a festival's competitiveness, industry influence and international standing.

What does Shanghai has to offer

The term "First in Shanghai" is gradually evolving from a descriptive phrase into an industry signal.

Behind this shift is a changing global map of film consumption. China's film market – entering the country's 15th Five-Year Plan period – continues to show strong momentum, with box office revenue exceeding 16 billion yuan ($2.3 billion) and total industry output surpassing 250 billion yuan ($36.8 billion), according to CCTV News.

In this context, Shanghai offers more than exposure. It provides immediate access to a large audience base and a fully integrated industrial chain that connects screenings with business opportunities.

Directors not only walk the red carpet in SIFF, but they also walk into a fully integrated film ecosystem where screenings, markets, financing, and co-production discussions unfold side by side.

Industrial access alone does not explain Shanghai's growing appeal. Film festivals ultimately compete on credibility. This year's Golden Goblet jury – chaired by Hong Kong actor Tony Leung Chiu-wai and including filmmakers from 16 countries and regions – reflects that institutional weight. For filmmakers, Shanghai is not only the first audience – it is also the first critical review.

That combination of market access and artistic validation is becoming increasingly rare.

A city that extends cinema beyond the screen

Shanghai's role in this shift is not confined with the festival itself. It is also rooted in the city's broader cultural and infrastructural environment.

As China's largest cinema hub, Shanghai has a dense network of screening venues and a deeply embedded film culture. During this year's festival, more than 420 films will be screened across over 1,600 sessions. The festival this year runs for more than two weeks (June 12-28), followed by an additional screening week for selected titles.

Beyond theaters, Shanghai has also expanded the spatial experience of cinema. Initiatives such as "movie walks" link film culture with urban landmarks, historic buildings, and commercial districts, allowing audiences to experience films within the city's physical and cultural fabric.

Shanghai emerging as the first stop for world premieres suggests a structural shift in global premiere strategy. And that shift is quietly redefining Shanghai's role in the global film landscape, which is becoming increasingly difficult to ignore.

Byline: Min Rui is a commentator on cultural affairs. The article reflects the author's opinions and not necessarily those of CGTN.