The Beijing International Film Festival has already screened numerous Brazilian films from various regions of the country, spanning different film genres and addressing diverse themes relevant to Brazilian society. The festival's relationship with Brazilian cinema strengthened in 2015 with the screening of films such as Último C Divin, Lobo Atrás da Porta, and Cidade de Deus. In 2024, the Brazilian Cinema Week took place at the festival, where important films such as Ghost Portraits, Mars One, The Second Mother, and A Story of Love and Fury were screened. In the last edition, in 2025, the films shown were The Last Blue and the great national hit I'm Still Here. In this edition, the animated film Heart of

Darkness will be shown in the session, and the film Isabel will be featured in the official music selection for Grêmio Fiantá. All of these are important films in contemporary Brazilian cinema, because the music is worth seeing and seeing again. I've watched many Chinese films, but two that particularly impacted me were Jan Fan's Platform in Search of Life. They were one of the first ones I watched. They sparked in me a desire to research Chinese cinema. I think what struck me most about these two films was the way they incorporated movement into cinema, the movement of the films through the territories of China, the movement of time of urban development, the movement of the characters. researching

these issues in different cities. I see in Chinese cinema an inexhaustible field for these sensibilities. Cinema has proven to be an important link between China and Brazil. A cinematic bridge disconnects our peoples, territories and cultures. Cultural events like the Beijing Film Festival play an important role in global cultural exchange because, by showcasing films from different countries, they connect diverse realities and artistic expressions and also serve as a space for exchange between filmmakers of different nationalities, creating ties between national cinemas and enabling the expansion of boundaries. The festival expresses a keen look at the past, present, and future of Chinese and world cinema. With the Ford Future session, for example, the

festival opens avenues for new filmmakers and opens windows for the public to the new waves of world cinema. Over 200 carefully selected Chinese and foreign films. I would definitely like to be in Beijing to watch them. My expectation for the future of Chinese cinema is that it continues to be a space where sensitive cinematic art and poetry are accessible to the wider audience. I hope that the Brazilian public will have wider access to Chinese cinema and that Chinese and Brazilian filmmakers will have more opportunities to work together in the development of our national cinemas. I only watched one film produced by IGC, a Chinese film. What I think about this increasingly deep integration of

technology into the film industry is that we've reached a point in technological development where it's impossible to avoid contact between cinema and other art forms like music and artificial intelligence. Just as previous technological developments not only altered but also created cinema, this is another one that will profoundly change our field. Now, what will the actual changes be [in terms of music]? I don't know. In Brazil, for now, these discussions are more distant [regarding music] and of smaller scope than in China, where artificial intelligence has already entered both film production and academic discussions. Here, this debate [about music] is not yet so widespread.