#SHOWBIZ: China-Malaysia Film Culture Festival showcases diverse cinematic talents
KUALA LUMPUR: Popular Malaysian films Guang, directed by Quek Shio Chuan, and Sepet, by the late Yasmin Ahmad, are among the country's cinematic representatives at the Second China-Malaysia Film Culture Festival, running from June 5 to 8.
A total of six Chinese and three Malaysian movies will be screened in conjunction with the festival at GSC Mid Valley Megamall, Kuala Lumpur, and GSC Gurney Plaza in George Town, Penang.
The Chinese film lineup includes The Goddess (1934), Hong Kong's It's A Mad, Mad, Mad World (1987), Creation Of The Gods 1: Kingdom Of Storms (2023), Creation Of The Gods 2: Demon Force (2025), Honey Money Phony (2024), and A Place Called Silence (2024).
The other Malaysian film is Blooms Of Happiness (2025), directed by Ryon Lee.
The festival, organised by Lomo Pictures Sdn Bhd with support from the National Film Development Corporation (Finas), GSC International Screens, and the China Film Archive, was officially launched today by Deputy Communications Minister Teo Nie Ching at GSC Mid Valley Megamall.
Also present at the event were Finas chairman Datuk Hans Isaac, Finas chief executive officer Datuk Azmir Saifuddin Mutalib, the festival's organiser Aron Koh, its head of exhibition Pan Vui Shang, and China Film Archive director Li Tao.
Koh highlighted that this year's festival brings together a compelling lineup of cinematic works from Malaysia and China, ranging from restored heritage films and contemporary hits to forums exploring the intersection of cinema with extended reality (XR) and artificial intelligence (AI).
"This year's festival offers audiences an immersive cultural exchange through the universal language of film," he said.
Koh added, "This festival offers a unique platform for filmmakers, industry professionals, and young enthusiasts from both countries to share their passion and perspectives. Through dialogue and collaboration, it highlights the power of cinema to celebrate diversity and bridge cultures."
Teo emphasised the festival's broader significance, saying, "The festival is more than a celebration of cinema; it is a growing platform for deepening cooperation and joint creation between our two countries. With our shared cultural affinity and minimal language barriers, we see greater potential for co-productions across film, animation, and new technologies."
Koh noted that this year's festival marks a first for China's newly restored 1934 silent classic, The Goddess, starring Ruan Lingyu, a defining work in Chinese film history.
"As for the Malaysian films, they represent heartfelt storytelling rooted in local culture, offering audiences a rich view of Malaysia's cinematic voice," he added.
The festival also features special industry programmes, including a forum on AI and filmmaking, as well as an acting workshop led by renowned Hong Kong director Clifton Ko.
Lomo Pictures also announced a long-term strategic partnership with Beijing Tianying Holdings Group, with plans to co-develop the first-ever XR co-production between China and Malaysia.
"This marks a new chapter in transnational film-tech collaboration, underlining Malaysia's growing relevance on the global creative stage," Koh said.
He added that following its Malaysian chapter, the festival will travel to Xi'an, China, further expanding the conversation and cultural bridge across borders.
Hans affirmed that film unites people across countries, and Malaysia is ready to share its cinematic treasures with other nations while also getting acquainted with state-of-the-art developments in Chinese cinema.
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