坎城，2017年5月19日
5月19日，「中國合拍日」的活動在坎城舉辦，活動由法國國家電影中心、坎城電影節市場及龍躍中歐製片人協會聯合舉辦，活動由兩場產業論壇和一場製片人見面會組成，關注中國藝術影院的新發展及對中歐電影合作的影響。
《中國藝術電影院線：製片與創作新前景》的論壇中，《路過未來》導演李睿珺、哪吒兄弟影業創始人楊城、天空之城影業創始人路偉、FIRST青年影展創始人宋文、英國松林製片場經理孫玉輝參加。
作為今年唯一一部入圍坎城電影節的中國導演，李睿珺表示在自己剛開始拍電影時，很難尋找電影資金，但是近幾年情況大大改善，獨立電影可以找到越來越多的資源。導演同時提到這兩年低成本的藝術電影，認為如果銀幕增加，這些電影能有更大的發行機會。
楊城認為，如今的中國電影市場在類型上開始多元化，製片人也開始在主流之外更多的關注這類電影，這對藝術電影是一個新的機會。（楊城擔任製片人的《好極了》入圍今年柏林電影節主競賽單元）。「製片人從前只看到藝術電影投資少，現在則會考慮到它們新的極具發展的前景。」
作為新晉影視基金模式的創始人，路偉也表示電影眾籌在觀眾吸引上的作用，如果業外資金用藝術電影做嘗試，慢慢也會培養出藝術電影的生長土壤。「我們的眾籌在籌集資金和吸引觀眾上都成果顯著。當觀眾覺得他們一部電影的投資人了，自然就會關注影片的表現並且號召儘可能多的人關注。」
宋文講述了兩部今年亮相坎城的影片——《喜喪》（入圍ICID）和《中邪》（坎城市場放映）都出自FIRST青年影展，影展搭建了一個青年導演走向國際的舞臺。
《中國藝術電影院線：發行新前景》的論壇從發行的角度來探討中國藝術電影的院線，香港百老匯電影中心麥聖希表示，百老匯電影中通過會員體制、觀眾見面會、主創交流等活動來觸及藝術電影的受眾，但是有一定的難度，而現在內地的情況似乎有了改善，在成立了「中國藝術電影放映聯盟」後，藝術電影能夠依靠院線聯盟的影院來觸及觀眾。
歐洲電影聯盟總監克羅德·埃裡克布瓦候分享了歐洲在藝術電影院線方面的經驗，他認為藝術電影能夠表達和定義一個國家的身份，這是非常重要的一點，應該要銘記於心。
最後，微影時代副總裁向明從網際網路的角度來看待藝術電影的發行，他認為需要利用技術尋找藝術電影的受眾，讓藝術電影走進千家萬戶；微信平臺積累的用戶觀影習慣可以引導資本做出聰明的電影選擇，而在發行方式上我們必須以針對式的互動發行才能找到受眾。
兩場論壇均由《綜藝》雜誌亞洲區主編Patrick Frater先生主持。論壇後，龍躍宣布了中歐電影實驗室入圍的名單：由中國、德國、紐西蘭合拍的紀錄長片《中國色彩》，中國和西班牙合拍的動畫片《守龍者》。據了解，龍躍中歐製片人協會將在南京舉辦中歐電影實驗室的活動。
當天下午，龍躍中歐製片人協會將舉辦製片人見面會，為40個國際公司及相應的中國公司提供交流平臺。入選的中方參與者包括：成龍的耀萊影視、萬達影業、微影時代、大地影業，以及一批潛力與前景兼具的新銳公司如：晶頂傳媒、路畫影視、無敵影業等。國際方面同樣囊括了大量與中國市場聯繫愈發密切的實力公司，如SF Studios (丹麥), Les Films du Lendemain (法國), K5Media Group (德國), Brio Films (法國), Ideale Audience (法國),Buffalo 8Productions/ BondIt (美國), N279Entertainment (荷蘭), Vaca Films (西班牙)。
Once more the China day in Cannes was a success in terms of content and attendance. This year it focussedon the new growth of Chinese art house cinema and the opportunities that thisbrings to the collaboration with the European and international market.
The China day organized by the CNC, the Marchédu Film and Bridging the Dragon in collaboration with the Festival du cinema Chinoisen France (FCCF), was once more a very successful event, a sign of how thegrowing Chinese market is becoming relevant to many European professionals.
The rich program started in the morning of Fri the 19th with two panels exploring from different angles the new developmentof Chinese art house cinema. After many years in which the interest was concentrated only on commercial movies and on a purely financial approach to film production, the local market is starting to demand more quality films anda new generation of filmmakers is emerging.
The panellists analized this phenomenon from thepoint of view of daring producers like ChengYang, (Have a Nice Day - Berlinale competition 2017), Wen Song founder of FIRST, the Chinesefilm festival focusing on new talents, LiRuijun, director of Walking Past theFuture, in this year’s Un Certain Regard, financiers like Wei Lu that through social media andonline platforms raised funds for such big productions like The Monkey King. Ming Xiang, deputy director general of the market leader ticketing platform Weying Technology and founding member of Alliance of Arthouse Cinemaexplained how on line ticket sale can benefit artistic movies as it candirectly reach specific niches of public; GaryMak, director of the cinema chain Broadway Cinematheque reported on thegrowth of a young public interested in more special movies; Yu-Fai Suen, managing director of Pinewood Pictures,explained the plans of Pinewood to contribute to the funding of movies coproduced between China and Europe.
Li Ruijun: 「When I started making films a fewyears ago, it was very difficult to find the funding. Sometime I had to look for money myself or making the films with very low budgets. Now in the last few years the situation changed completely and there is more and more resources available for independent movies.
Cheng Yang: 「The Chinese market is finally starting to be more and more diversified in terms of genres. This is creating all sorts of new opportunities for the art house film market. I think that the producers, that before saw such films only as way of buying their way into the business at very low costs, are now considering artistic films to have a new and promising potential.」
Lu Wei: 「Our crow funding activities proved tobe terrific in terms of raising funding but also creating a affectioned audience. After someone feels he or she is a small investor into a movie is very committed to follow the performance of the picture and involving as many people as possible into making it successful.」
Ming Xiang: 「We can use technology to make art housefilms enter every door of Chinese families. And the interactive discussion offered by social media are now creating a new fast and powerful way of promoting movies at a lower cost.」
Gary Mak: 「Until some time ago it was very difficult to push art house films into the theaters. But now thanks to the new Alliance that was created among a group of players, we can rely to a good chain of cinemas that can guarantee to these titles a good number of screens all overthe country.」
Claude Eric-Poiroux (Europa Cinemas):「Thelesson that we learned in Europe is that art house films can help express and defend the identity of a country. This is an important lesson to always keep in mind.」
After the panel, Bridging the dragon announced two new co-productions with China, the animation feature Dragonkeeper (Spain) andthe spectacular feature documentary Colours of China (Germany, New Zealand), together with the programme of Bridging the Dragon’s upcoming Sino-European Project Lab that willtake place in June before the Shanghai Film Festival in the city of Nanjing in collaboration with ARRI and One More Pictures.
In the afternoon the company meetings event matcheda selection of 40 international companies with as many Chinese counterparts. Marketleaders like Jackie Chan’s Sparkle RollMedia, Wanda Pictures, Weying Technology, Dadi Century, nextto new and promising names like Spire Media, Road Pictures, WD Pictures were paired with a rich array of internationalcompanies such as SF Studios (Denmark), Madelines(FR), K5 Media Group (Germany), Brio Films (France), Ideale Audience (France), RoadSide Attractions (USA), N279 Entertainment (Netherlands), Vaca Films (Spain).
Judging from the attendance of the event and fromthis year’s general presence of Chinese companies at the market, the Chinamission that in the beginning seemed to be a 「long march」 is apparently becomingmore and more a reality.
關於龍躍中歐製片人協會（Bridging the Dragon）
創立於2014年8月，總部位於德國柏林，由創意歐洲媒體歐盟特別項目支持，是第一個由中歐電影業內資深人士共同創立的製片人協會，通過建立聯繫、加強理解、共享資源、突破文化阻礙等方式，橋接中國和歐洲電影產業，在內容、製作、融資和發行等各方面，實現中歐電影產業長久而優質的合作。
長摁下圖二維碼即可訂閱龍躍中歐製片人協會