The participation of Brazilian cinema in the (the rest of the sentence is missing in the provided text)28th Shanghai International Film FestivalIt exceeded all initial projections. As a result of the Brazil-China Cultural Year, celebrated in 2026 following an agreement between Presidents Lula and Xi Jinping, the Focus Brazil exhibition went from 18 planned sessions to 52 screenings, while the Brazilian business delegation grew from 16 to 22 members.
In total, approximately 90 people, including managers, artists, and entrepreneurs, made up the largest delegation ever sent by Brazilian audiovisual to Asia. "It was a great honor to receive this recognition for Brazilian audiovisual production. It's an agenda for the internationalization of Brazilian cinema," summarizes Paulo Feitosa, the show's creator, founder of Quintana Criativa and director of the Iberocultures Institute.Text: Good Living Conversation.
For Feitosa, the most relevant data wasn't just the increase in screenings, but the response from the local audience. "Our audience was basically zero Brazilian. 95% of our audience was Chinese," he reports. According to him, the audience's duration during the debates after the screenings was also surprising. "When we were showing one of the films, after the film ended, the set was quickly set up for the debate, the audience didn't leave. We even wondered if they understood that the film had finished. Then I asked a producer, and she confirmed that everyone was there to actually participate in the debate."
He also emphasizes that animations likeAmadeo and the Hypothetical New WorldThey generated a strong sense of identification, and productions like "Feito Pipa" moved entire audiences, signaling that even among such diverse cultures, "there is a process of sensitization in human readings, in geographical readings." "Amadeo was one of the films that had the largest audience and resonated with them, about these processes of discovering Brazil," he highlights.
Paulo Feitosa points out that the goal now is to turn this sporadic interest into a continuous presence. "We have there a potential audience interested in Brazilian culture. But there is no audience without routine, it needs frequency, it needs us to be there with permanence in these rooms," he argues.
Upcoming actions include a traveling exhibition to ten Chinese cities by the end of the year and a Brazil-China co-production agreement pending approval in the Senate. In reverse, he reveals that major Chinese media groups are already negotiating agreements with Brazilian film, TV, and streaming companies, which should increase the presence of Chinese productions on Brazilian screens.
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