Photo of the film Shanghai

The idea of film co-production was originally limited to cooperation between mainland and Hong Kong film circles, and Reign behind a Curtain and Burning of Imperial Palace, directed by Lee Han-hsiang, famous director based in Hong Kong, became the first batch of co-production. Ever since Closer Economic Partnership Agreement was signed by Central Government and Hong Kong Special Administration Region Government in 2003, many filmmakers in Hong Kong transferred to mainland to continue their film career, which resulted in distinctive Hong Kong character in the early co-productions. Along with a large part of commercial co-productions, they contributed a lot to the new prosperity of film market both in mainland and Hong Kong. Since 1998, many countries such as Canada, Australia, France, Germany, Norway, Belgium, Italy, South Africa, Korea and Singapore put forward preferential policies for international co-productions. The preferential treatment involves refund of various service charges in production, taxation reduction, loan for film financing, copyright investment, provision of shooting venue and exemption of parking fees. It is a common realization among many countries that co-production will not only accumulate funds, personnel and technology, but also, in light of bilateral agreement, expand international dimensions of distribution and enhance the scale effect of production. In the meanwhile, co-production is also an effective way to expand cultural influence. 

Photo of the film Snow Flower and the Secret Fan

When funding is no longer a limitation for film development, does it mean that film will achieve a swift as people wish? The answer is no. Co-production is still supposed to fit in with local aesthetic habit in the partners’ countries, and even the biggest investor is unable to change this law of nature. 

In retrospect of the decade after China’s entry into WTO, Chinese filmmakers have survived the fierce competition in the market, broadened their vision and mind and enriched concepts and approaches. Chinese films have become a pioneer in China’s cultural industries. In the next decade to follow, China will endeavor to become a power in global films, and certainly face many new problems. Among them, how to make co-production will be an issue worthy of our consideration.