Core Points - The 2025 Shanghai Cooperation Organization (SCO) Film Festival concluded on July 6 in Yongchuan, Chongqing, with Chinese film "The Third Squad" and Russian film "Air Combat" winning the "Golden Camellia Award" for Best Film [1][3] - This film festival is a significant cultural exchange event held in conjunction with the SCO summit, marking its return to China after seven years [1][3] Awards Summary - The festival featured a total of 10 awards, with notable winners including: - Best Actor: Bakhtiyar Khadzhibaev from Kazakhstan's film "Alarm Action" [3] - Best Actress: Lano Shokhieva from Uzbekistan's film "Chasing Spring" [3] - Best Director: Baatar Uulger from Mongolia's film "Father" [3] - Best Screenplay: Kyrgyzstan's film "Border Trade" [3] - Best Editing: Pakistan's film "Termite" [3] - Best Cinematography: Mongolia's film "Golden Horizon" [3] - Best Music: China's film "Bazaar Joy" [3] - Best Art Design: Belarus's film "Black Castle" [3] - Special Jury Awards: Tajikistan's "Seeking Truth," Pakistan's "Nayab," and Iran's "The Last Whale Shark" [3] Event Highlights - The festival was co-hosted by the National Film Administration of China and the Chongqing Municipal Government, themed "Technology Light and Shadow, SCO Style" [3] - Key activities included a film market, film cooperation forum, technology achievements exhibition, SCO Night film-themed concert, and outdoor market, showcasing 28 films from 10 countries [3]

其中《长安三万里》《第二十条》获"夏衍"年度荣誉原创电影剧本奖。《三大队》《封神第一部：朝歌风云》获夏衍年度荣誉改编电影剧本奖。在评选结果 揭晓同时，活动现场有7部剧本签约落地，并正式启动第二十届夏衍杯优秀电影剧本征集活动。 AI时代编剧行业的技术革命与人文坚守 首届夏衍电影编剧周暨第十九届"夏衍杯"优秀电影剧本评选结果，昨晚在浙江杭州揭晓。作为中国电影文学最高荣誉，本届"夏衍杯"共有49部优秀剧本从一 千多部参评作品中脱颖而出，获颁荣誉。 据了解本届"夏衍杯"首次设立了"主单元+院校单元"双赛道，共征集剧本1492部，参评剧本数量同比增加21.2%，而在此当中，现实题材的作品占比显著。 "夏衍杯"评委代表 编剧 何可可：整个市场越来越多元，也有很多年轻的编剧，努力让他的思考、他的观察，尽可能去贴近现实生活。 在首届夏衍编剧周上，AI对编剧行业的影响成为焦点。总台记者走访发现，编剧们在创作过程中使用AI工具已经成为常态，这场技术浪潮正在改写编剧行 业的"源代码"。 编剧 袁媛：AI出现之后，自己开始频繁使用，在它的帮助下，修改的效率有了极速提升，我觉得这一点还是挺令人惊讶的，必须得拥抱未来，拥抱科技。 记者在 ...

破茧，题材破局实现华丽转身 从本届华表奖获奖情况来看，《万里归途》《志愿军：雄兵出击》等影片，均将宏大叙事与个体命运、家国情怀与个人情感相结合。 "本届获奖的新主流电影不仅在视听语言和制作规模上达到新高度，也反映出中国主流电影创作已经进入与观众深度对话、与时代同频共振的新阶 段。"北京电影学院研究生院院长、博士生导师王海洲说。 近年来，现实主义电影题材也越来越受到观众喜爱。《第二十条》《三大队》《失孤》《奇迹·笨小孩》等影片，将镜头对准了现实生活和社会的 不同切面，体现了电影人强烈的社会责任感和人文关怀。 "这些影片显示了现实主义强大的艺术生命力。"北京电影学院中国电影文化研究院助理研究员尹鹏飞说，华表奖对这类作品的青睐，反映出中国 电影正在回归现实主义创作路线。 "近年来，《我和我的祖国》《长津湖》等作品对主旋律的表达方式逐渐细腻深入，逐渐提高了观众对主旋律影片的认可度。"中国电影家协会副 主席黄晓明说。 新华社青岛4月28日电 题：破茧、焕新、自信——从第二十届华表奖看中国电影蝶变 新华社记者王凯、张武岳、邢拓 4月27日晚，第二十届中国电影华表奖颁奖典礼在山东省青岛市举行。作为中国电影的政府奖，华表奖不 ...

新华社青岛4月27日电 题：与观众和时代同行！第二十届中国电影华表奖揭晓 新华社记者邢拓 琴岛潮涌，光影夺目。4月27日，第二十届中国电影华表奖在山东青岛揭晓。《第二十条》《封神 第一部：朝歌风云》《流浪地球2》等获奖影片，从不同视角出发讲述了精彩的中国故事，彰显了新时 代中国电影风采。 张译凭借在《三大队》里刚正不阿、扶正扬善的人民警察形象，获得了优秀男演员奖，现场坦 言"荣誉属于故事的原型"； 优秀女演员奖得主惠英红在《我爱你！》中演绎了一个平凡老人纯粹而又热烈的爱情故事，影片曾 引发观众对爱和生命议题的探讨。 中国传媒大学戏剧影视学院教授赵晖说，许多现实题材电影逐渐从关注单一的社会议题转向更广泛 的社会生活，在叙事上融入了悬疑、喜剧、动作等强情节元素，在讨论社会议题的同时传递出温情力 量。 探索多元题材表达—— 本届华表奖对近两年来涌现出的农村、少数民族、少儿题材优秀作品进行嘉奖。 获得优秀农村题材影片的《我本是高山》改编自张桂梅的真实事迹，讲述了张桂梅校长以"教书救 人"为己任，引领大山深处的女孩们热烈生长的动人故事。 今年华表奖获奖影片集中反映了我国电影创作的哪些亮点？ 扎根现实生活—— 《第二十条 ...

4月27日，第二十届中国电影华表奖颁奖活动正式举行。颁奖现场宣布，由万达电影担任第一出品方的《三大队》，荣获三大奖项：优秀故事片、优秀男演 员（张译）、优秀电影音乐（彭飞）。 《三大队》根据真实事件改编，故事讲述了刑侦大队队长程兵带领的三大队在办理一起恶性案件时，导致嫌犯意外死亡并被判入狱，他在出狱后，依然坚持 以普通人身份，用12年时间追踪在逃嫌犯。 万达电影董事长兼总裁陈祉希 于颁奖现场领奖优秀故事片 "唯真不破，以情动人"，《三大队》着力讴歌人民警察全心全意为增强人民群众获得感、幸福感、安全感而努力工作的精神。如片尾曲所唱，"我要这朗朗 乾坤 下，事事有王法""我要白日见云霞，夜里举火把"。 如遇作品内容、版权等问题，请在相关文章刊发之日起30日内与本网联系。版权侵权联系电话：010-85202353 万达电影方面表示，将继续以真心创作、以真情共鸣，做"扎根人民、扎根生活"的中国电影，让中国故事成为照亮现实的精神灯塔。据悉，在2024年，万达 电影参与出品、投资的电影，获得了一系列档期冠军，其中不乏《维和防暴队》《志愿军：存亡之战》《第二十条》等主旋律、现实题材佳作。 2025年，万达电影《人生开门红》 ...

Core Viewpoint - The article discusses the disconnect between promotional activities for films and their actual content, highlighting the ineffectiveness of current marketing strategies that prioritize entertainment over meaningful engagement with the audience [6][20][39]. Group 1: Promotional Activities - The promotional event for the new drama "In the Name of Beauty" featured actors Yao Chen and Jia Jingwen performing a dance unrelated to the show's theme, raising questions about the effectiveness of such marketing strategies [1][6]. - The awkwardness of the performance contrasted sharply with the characters they portray, leading to mixed reactions from the audience, with some finding it amusing while others felt it was forced [2][6]. - This incident is not isolated, as actors have previously expressed discomfort with being required to engage in similar promotional antics that detract from genuine audience interaction [3][4]. Group 2: Marketing Trends - The article identifies a trend where promotional events have devolved into superficial entertainment rather than substantive discussions about the film's content, resulting in a lack of meaningful audience engagement [9][20]. - Various types of promotional chaos are categorized, including forced performances, influencer interactions, and fan meet-and-greets, which often bear little relevance to the films being promoted [10][15][18]. - The commercialization of promotional events has led to a focus on generating viral content for social media rather than fostering authentic conversations about the films [32][33]. Group 3: Audience Engagement - The decline in valuable exchanges during promotional events has been noted, with audiences increasingly disengaged from the content and more focused on entertainment gimmicks [8][21]. - The article emphasizes the importance of returning to meaningful discussions about film content to rekindle audience interest and drive ticket sales [39][40]. - Successful films in recent years have managed to connect their content with broader social issues, demonstrating that engaging narratives can still attract audiences despite the current marketing chaos [34][38].