Documentaries, Animation Get Masterclass Treatment at Shanghai Television Festival

Patrick Frater Asia Bureau Chief Production is now under way on “The Elephant Odyssey,” a major wildlife documentary film that will release in Imax theaters next year. The film, directed by Alice Gu, chronicles the highly unusual trek by a herd of elephants in China that began in early 2020. As the group diverted from their usual habitat and marched over 1,000 km (600 miles) across remote Yunnan Province they attracted global attention, including live-streamed drone footage. They raided grain stores, indulged in impromptu village feasts and messy mud fights, and even gave birth while on the road. Reasons for the herd’s 18-month trek are unclear, with wildlife experts variously pointing to climate change and the failure of conservation efforts.

EXCLUSIVE: Candle Media’s Exile Content Studio is partnering with acclaimed Colombian journalist Daniel Coronell and director Gaz Alazraki (Father Of The Bride) to produce a scripted feature about the incredible recent news story of the four children, including a baby, that survived a plane crash and 40 days in the Amazon Rainforest before being rescued by Colombian special forces.

So long, soundstage of 1,000 memories.

Patrick Frater Asia Bureau Chief Shanghai was the venue for the launch of Chinese streaming firm iQiyi’s latest venture into Virtual Reality. Its ‘Luoyang VR Project’ is a studio-based experience in which users are invited to experience up to 12 different entertainment zones in the ancient city of Luoyang in Henan province. Requiring headsets and using a physical space of some 300 square metres, the set-up stimulates the physical experience of high winds, waterfalls and explosions. IQiyi described the project as “the first attempt in the VR industry to integrate different elements from immersive theatre, VR, and original IP,” and said that it leverages “inside-out tracking” technology and other industry-leading, sensory-simulation techniques to build in cars, boats, carriages, and other props. “The upshot is a highly realistic environment that fully immerses the audience in the story,” the company said.

Patrick Frater Asia Bureau Chief The 28th edition of the Shanghai TV Festival wrapped up on Friday with its Magnolia Awards presented to a range of TV drama series, documentaries and animation programs. The drama awards were dominated by two shows “A Lifelong Journey” and “Bright Future.” “A Lifelong Journey,” adapted from a novel of the same name by Liang Xiaosheng, tells the story of three generations of one family in China’s Northeast as time moves from the late Cultural Revolution period through to the country’s reform and opening up. With a starry cast and broadcasters including CCTV-1 and Jiangsu Satellite TV, the show is reported to have attracted 310 million viewers at the beginning of 2022. In mainland China, it ran for 58 episodes, while in Hong Kong it played in 35 parts.

Patrick Frater Asia Bureau Chief The technical aspects of China’s embrace of smart broadcasting were given a thorough workout this week as part of the ongoing Shanghai Television Festival. Topics covered by keynote speakers included: future broadcasting planning; AI content generation’ big data construction; and the development of ultra-high definition broadcasting. Sun Suchuan, deputy Director-General of the Science and Technology Department of the National Radio & Television Authority explained that the national government has iterated a strategic development plan for the TV sector running until 2035 as well as medium- and long-term technological strategies.

The French film Le Colosse aux Pieds d’Argile and UK-Australia series Ten Pounds Poms took the top fiction prizes at the 62nd annual Monte-Carlo Television Festival, which were handed out Tuesday in Monaco. See the full winners list below.

Ben Croll “The Fragile Colossus,” “Ten Pound Poms” and “The Seed” ruled the roost at this year’s Monte-Carlo Television Festival, with the three programs collecting two prizes each at a small-screen showcase that ran June 16 – 20 in the Monaco capital. Produced by Make It Happen Studio and Shoot Again Productions in partnership with TF1 France, telefilm “The Fragile Colossus” took home Monte-Carlo’s Golden Nymph for best film and the special jury prize. The French drama follows a one-time rugby star (played by soccer player-turned-actor Eric Cantona) confronting his history as a victim of childhood sexual abuse, and is based on the life and memoires of rugbyman Sébastien Boueilh.

Callum McLennan Underscoring its growing ambitions in features, MoreThan Films has secured the international sales rights for “Muyeres,” a Spanish film directed by Marta Lallana, which won over the  weekend at the Shanghai International Film Festival its jury Grand Prix and best cinematography plaudit for Toni Vidal.  MoreThan Films has shared “Muyeres”’ international trailer in exclusivity with Variety.  “Muyeres” is a hybrid documentary telling a story of Carmina and Irene, the last guardians of an oral folk tradition on the brink of extinction, set in the northern Spanish region of Asturias. 

Patrick Frater Asia Bureau Chief Asia Satellite Telecommunications (AsiaSat), a leading operator of satellites, has moved into content distribution with the acquisition of Hong Kong- and U.K.-based TV distributor Lightning International. The diversification was described by AsiaSat as “a strategic move to expand the company’s services and extend its clients’ reach to global audiences through traditional and new distribution platforms including OTT and FAST.” AsiaSat is known to be acquiring 100% of Lightning International, but other deal terms were not disclosed.

TMZ. The phone-pelter suspect was quickly identified, with cops arresting Nicolas Malvagna for assault.

Patrick Frater Asia Bureau Chief The Mother of all Lies, a docu-drama film that probes the secrets of Morocco’s 1981 Bread Riots, was Sunday named the best picture at the Sydney Film Festival. The jury, headed by Anurag Kashyap, called the Asmae El Moudir-directed film “audacious, cutting-edge and courageous.” It presented the A$60,000 ($41,100) cash prize film ahead at the State Theatre ahead of the Australian premiere screening of “Indiana Jones and the Dial of Destiny.” The film, which uses doll-like figurines, recently premiered in Un Certain Regard at Cannes, where it earned the section’s best director prize. “Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual, in three distinct levels,” said the jury of Kashyap, actor Mia Wasikowska (Australia), film curator and journalist Dorothee Wenner (Germany), writer and director Larissa Behrendt (Australia) and filmmaker Visakesa Chandrasekaram (Australia – Sri Lanka).

Patrick Frater Asia Bureau Chief “Barbarian Invasion” director Tan Chi Mui from Malaysia scored a top result from the SIFF Project Market. The market is a component event of the Shanghai International Film Festival, which wrapped up over the weekend. Tan’s “All About Yuyu” was named as the “recommended project for creativity” at the project market’s closing event. The project, which is already being structured as a Malaysia-China coproduction, is a story that combines contemporary wuxia (heroic martial arts) with youth elements. “I want to make a modern wuxia film to recapture the magical feeling I had when watching films during my childhood,” she told local media.

Patrick Frater Asia Bureau Chief After a golden age in the 1980s, Chinese filmmakers were quietly discouraged from dabbling in the sci-fi genre – it isn’t real science and authorities did not want youngsters to get confused. That stance changed during the last decade and the Shanghai International Film Festival has just hosted its first sci-fi week, comprising nearly a dozen film screenings and a trio of panel discussions featuring the new luminaries in the sector. Reasons for the revised position of China’s authorities are not hard to understand. Not only was Hollywood getting away with dominating a genre that was popular with Chinese audiences, China in the 21st century has become a global technology powerhouse. Its space program, in particular, is now among the most advanced, capable of a normalized rocket launch schedule, international co-operation and lunar and interplanetary missions.

Leo Barraclough International Features Editor Speaking at Monte-Carlo Television Festival Sunday, cast members from the fantasy series “The Lord of the Rings: The Rings of Power” expressed their feelings about the racist trolls who objected to the Prime Video show’s diverse and inclusive casting when it first launched. Last month, Ismael Cruz Córdova, who plays the Elven warrior Arondir, told Variety that Prime Video provided an on-set therapist to help the actors deal with the racist backlash against its casting. He revealed it wasn’t just attacks on social media. “My phone got hacked. I had bank account attempts of being hacked. My PayPal got hacked. My friends got messages. I got death threats. I got things mailed to me. People found out my address. It was a lot of that,” Córdova recalled.

Patrick Frater Asia Bureau Chief Japanese drama feature “Yoko” won the Golden Goblet best picture award at the Shanghai International Film Festival. The jury Grand Prix was awarded to Spain’s “Muyeres” with China’s Liu Jin winning the best director prize.The trio also collected additional prizes making them the only multiple winners in a ceremony that sprinkled its awards widely. “Yoko,” directed by Kumakiri Kazuyoshi, who earlier this year saw melodramatic “#Manhole” play in Berlin, takes the structure of a road-movie and is a journey of self-discovery of a woman who had been socially isolated in her apartment for many years. Portrayed by global star Rinko Kikuchi (”Babel,” “47 Ronin”), the woman is forced to confront the real world, and herself, when she takes a 658 kilometre cross-country journey to her father’s funeral. Without a cell phone or the money for public transport, she finds herself having to hitch hike. Kikuchi also earned the best actress award.

Ben Croll Running the Monte-Carlo Television Festival since 2012, Laurent Puons has always tried to look ahead. From his embrace of streamers and digital platforms back in 2017 to his growing emphasis on diverse formats, the festival director sees his summer showcase as a bellwether event for the wider television industry – and what the industry could use right now, in Puons’ view, is flexibility.  “There are already so many festivals today dedicated to series,” Puons explains. “But Monte-Carlo follows a wholly different concept. We’re a home for all kinds of content, and one of the only festivals with both fiction and factual competitions. And when you see what’s broadcast on platforms like Netflix and Amazon, [you need to cover that full range.]”

Patrick Frater Asia Bureau Chief Eastern Grace Film, a new production company that teased its debut production “The Sand Murmurs” earlier this month, has gone one step further. It used the Shanghai International Film Festival to unveil a slate of nine new film productions. The company is an indirect subsidiary of Baination Pictures, a Beijing-based film and TV group that is listed on the Shenzhen stock exchange. Eastern Grace is headed by president Wilson Jiang, a veteran film distributor in China.

Leo Barraclough International Features Editor Best-selling novelist and showrunner Harlan Coben kicked off the 62nd edition of the Monte-Carlo Television Festival Friday with an expression of solidarity with the striking members of the Writers Guild of America, of which he is a member. Coben, the co-showrunner and executive producer of Prime Video series “Harlan Coben’s Shelter,” which opened the festival with the world premiere of its first episode, said he wouldn’t be taking part in the promotion of the show at the festival to demonstrate his support for the strike. Standing on stage alongside Monaco’s Prince Albert II, the festival’s honorary president, Coben said: “I am just going to say I am supporting the Writers Guild of America, my union, that is striking right now, so I am not going to participate in any of the question and answers, and none of the media – I’m just here for the prince, and will introduce you to the wonderful cast who will take over for you.”

Patrick Frater Asia Bureau Chief “Sunday,” by Uzbekistan-based director Shokir Kholikov, was Thursday named best film in the Asian New Talent section of the 25th Shanghai International Film Festival. The Asian New Talent Awards are called Golden Goblet Awards, but are separate from the festival’s official competition section, and favor new and emerging talent. The main competition jury will hand out its Golden Goblets on Sunday. The best director prize in the Asian New Talent section was shared by two helmers: China’s Luo Dong won for “May.” So too did Kazakhstan’s Aisultan Seit for “Qash.” Luo previously attended the Shanghai festival’s project market ten years ago and has since completed one other film.