On August 29th, the 6th China Film New Power Forum was held in Changchun. Nearly a hundred young film producers, producers, screenwriters, and directors attended the forum to discuss topics such as promoting domestic films to go global. On August 29th, the 6th China Film New Power Forum was held in Changchun. Liu Dong, Executive Deputy Director of the Film Bureau of the Central Propaganda Department, Mao Yu, who attended the forum, stated that in 2014, when the film bureau created the brand "New Power of Chinese Film", Chinese film had just completed the market-oriented and industrialized reform and transformation, and was facing huge competitive pressure from Hollywood films. The survival of domestic films was the top priority at that time. In the past decade, the Chinese film market has flourished, and the proportion of domestic films at the box office has continuously written a legend. Mao Yu said that the burden of building China into a strong film country by 2035 has historically fallen on the shoulders of the younger generation of filmmakers. In this context, the connotation of new forces is more abundant than before. Mao Yu said that the new force is no longer fighting for survival, but to become a new force that tells Chinese stories well and enhances the soft power of Chinese culture, a new force that promotes the healthy development and continuous progress of Chinese cinema, and a new force that influences world culture through diverse development. On that day, former New Power representatives such as Guo Fan, Ning Hao, and Han Yan gathered together with current New Power representatives such as Wang Baoqiang, Liu Xiaoshi, Cui Rui, Su Liang, and Zhang Shiyu to speak freely. Director Guo Fan admitted that the overseas release of 'Wandering Earth' was a 'less successful case'. At that time, when communicating with a European publisher about the issue of distribution, he said whether it was possible to remove the Chinese language. Chinese was not necessary, and I felt a bit uncomfortable. Later, our conversation broke down. "Guo Fan later reflected on this process and realized that overseas distribution should be fully studied as a specialized topic. He said that what kind of values movies want to convey and how to make others understand are the pain points that domestic films must solve for overseas distribution. Zhang Shouyu, the director of "Walking on the Moon Alone," believes that laughter is a universal language worldwide, and Chinese comedy films have the potential and opportunities to connect with the world, while the implementation methods are cross-border and innovative. Zhang Shiyu said that cross-border and innovative means creatively integrating different types of theme elements. Comedy has inherent advantages in this regard, as it can serve as a seasoning for all types. With the support of comedy elements, various combinations can radiate new viewing experiences. Director Cui Rui believes that good stories can break language barriers and cultural barriers for dissemination. He said that after the release of 'The Disappearing She' in North America, some Hollywood practitioners were invited to watch the film, and their response was positive. They watch movies more in the form of appreciating commercial genres, and they really enjoy the reversal inside. "Regarding the new power of Chinese cinema, Mao Yu said, they grew up during China's reform and opening up period and have a natural advantage in solving cultural differences. They hope that they can overcome historical and national barriers through cultural commonalities and find artistic expressions that can be accepted by audiences around the world, Realize the normalized screening of domestic films in overseas cinemas. (New News Agency)