The National Art Museum of China has opened a sculpture exhibition honoring working people ahead of International Workers' Day, featuring pieces that will remain on display through late June.

The sculptures, crafted from bronze, wood, stone and ceramic, depict people from various professions, including fishermen, herders, animal keepers, industrial workers and farmers, capturing both their resilience and humanity through diverse artistic styles.

Some sculptures represent anonymous laborers committed to societal progress through their work, while others portray prominent figures such as scientists Yuan Longping and Nan Rendong, known for their significant contributions to China's scientific development.

A replica sculpture of Karl Marx, created by Wu Weishan, is displayed at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A plaster sculpture of scientist Yuan Longping by Wu Weishan is featured at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A copper sculpture depicting an oil worker, created by a Russian artist, is showcased at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A wooden sculpture of an animal keeper created by Wu Mingwan in 1963 is displayed at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A plaster sculpture of scientist Nan Rendong by Wu Weishan is featured at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A stone sculpture of a laundrywoman created by Cheng Yanan in 1980 is showcased at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A copper sculpture created by Pan He in 1984 as a gift to Shenzhen that symbolizes the pioneering spirit of the city is displayed at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A copper sculpture of a fisherman with his cormorants by Yin Zhixin is featured at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A fiberglass sculpture of three cleaners by Wang Tianjiao and Feng Dali is showcased at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A wooden sculpture of an elderly farmer from Yan'an city, Shaanxi province, created by Zhang Youming in 1979, is displayed at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A cast copper sculpture created by Liu Kaiqu in 1958 depicting People's Liberation Army soldiers crossing the Yangtze River is featured at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A copper sculpture created by Tang Daxi in 1973 is showcased at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

A copper bust of a man wearing a peaked cap by Wang Linyi is displayed at a workers-themed exhibition at the National Art Museum of China, April 22, 2025. [Photo by Liu Sitong/China.org.cn]

Industry leaders gathered at the Motion Picture Association (MPA) Film Workshop, held on April 21 during the Beijing International Film Festival (BJIFF), to discuss Hollywood distribution trends and China's video-on-demand (VOD) platform business models.

William Feng, head of Greater China for the Motion Picture Association, speaks with Huo Tingxiao, president of the China Film Art Society, at the MPA Film Workshop in Beijing, April 21, 2025. [Photo courtesy of the BJIFF Organizing Committee]

William Feng, MPA head of Greater China and vice president for Asia Pacific, said VOD's global rise had created unprecedented challenges for traditional studios' distribution strategies and content investments. However, he noted that throughout cinema's century-long history, each technological disruption has presented both challenges and opportunities.

"VOD has significantly expanded market opportunities for films, particularly mid- and low-budget productions," Feng said. "For blockbusters, premium VOD platforms have become a crucial revenue stream beyond theatrical box office earnings, enabling studios to sustain high-quality production."

China's internet users topped 1.1 billion in 2024, according to the China Internet Network Information Center's latest statistical report on internet development. A separate March report on internet audiovisual services revealed that 1.09 billion people, 98.4% of the country's internet population, use online video platforms. The report showed that long-form video viewership hit 752 million users, its highest level since 2018.

For comparison, Feng cited industry data showing that 89% of U.S. households subscribe to streaming services, including premium video-on-demand platforms, maintaining an average of four subscriptions per household, with monthly spending reaching $69. U.S. consumer spending across digital and physical home entertainment formats hit $43 billion in 2023, far exceeding theatrical releases, which remained below $10 billion during the same period.

He emphasized that harnessing VOD's potential to upgrade China's film industry and transform it into a new growth engine requires collective innovation across the sector to achieve high-quality development.

Zhang Wengang, executive director of the UHD World Association, noted that U.S. tariffs have had the surprising effect of stimulating innovation in China's ultra-high-definition (UHD) sector despite their negative impact on the broader film industry

"The UHD sector remains highly active, with continuous technological innovations driving industry development," Zhang said. "Tariffs have impacted both Hollywood and domestic Chinese films, yet led to greater genre diversification that will create a more competitive and vibrant market landscape moving forward."

Zhang also emphasized that the UHD World Association, as the first international technology-focused organization registered in China, has gathered numerous members from leading enterprises across the industrial chain while making continuous breakthroughs in UHD technical standards.

The workshop included a discussion with Huo Tingxiao, vice chairman of the China Film Association and president of the China Film Art Society, who examined how emerging technologies are transforming artistic production in filmmaking. Huo told attendees that digital technology applications have created significant new opportunities for film artists.

A panel discussion on "Exploring New Paths to Maximize Value of High-Quality Film Content" followed. Li Ning, senior vice president of New Classics Media Group and CEO of New Classics Pictures under Yuewen, said paid online viewing habits aren't fully established in China. He emphasized that UHD development must balance theater revenues with platform profits, noting issues like anti-piracy and data-based revenue sharing need further industry solutions.

Gillian Zhao, senior vice president of iQiyi, speaks at a panel discussion during the MPA Film Workshop in Beijing, April 21, 2025. [Photo courtesy of BJIFF Organizing Committee]

Blockbuster producers prefer longer theatrical runs to maximize returns, while underperforming films increasingly depend on digital platforms for revenue, said Gillian Zhao, senior vice president at Chinese streaming giant iQiyi. Theaters must emphasize their unique advantages in visual effects and the event-like experience of cinema-going to compete with the convenience of home viewing, Zhao told attendees.

For video-on-demand releases to succeed, they need three key elements, according to Li Hui, dedicated network head of the Larger-Screen Operation Center at Migu Culture Technology. He said VOD platforms must offer high-quality content, superior viewing experiences with home theater-level picture quality and features for multiple viewers, and technology that works smoothly across different devices.

Tang Wenxue, department director of the HD Business Division at E-surfing Digital Life Technology, explained how telecom companies are launching ultra-high-definition TV services using fast internet connections to deliver crystal-clear picture and sound quality to homes.

He noted these services need strong copyright protection. With China Telecom already reaching 150 million users, Tang said UHD home viewing has significant growth potential. He suggested offering bundled packages and broadband upgrades to encourage customers to pay for premium content.

The BJIFF and the MPA have jointly organized annual film workshops since 2014, bringing Hollywood executives and experts to share expertise with Chinese filmmakers. The workshops have become an essential platform for China-U.S. film industry exchanges, helping Chinese directors gain international exposure and collaborative opportunities.

Editor's Note: Thousands of members of the Yi ethnic group gathered Thursday to celebrate the Sanyuesan Festival in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province.

The celebration featured performances of the Left Foot dance, a traditional Yi dance that was added to China's national intangible cultural heritage list in 2008.

Members of the Yi ethnic group perform the Left Foot dance during Sanyuesan Festival celebrations in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

Performers pose for photos during Sanyuesan Festival celebrations in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

People of the Yi ethnic group perform the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

Members of the Yi ethnic group perform the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

People of the Yi ethnic group perform the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

Members of the Yi ethnic group perform the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

People of the Yi ethnic group perform the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

An aerial view shows thousands of people performing the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

An aerial view shows thousands of people performing the Left Foot dance in Mouding county, Chuxiong Yi autonomous prefecture, southwest China's Yunnan province, April 24, 2025. [Photo by Zhang Sisun]

China recently unveiled a work plan to accelerate the opening-up of the service sector, a concrete move aimed at bringing greater certainty and stability to the global economy. Key sectors such as telecommunications and healthcare are now more open to foreign participation.

Beijing's sub-center in Tongzhou district recently enabled citywide access to cross-district government services.

Leveraging an integrated government service platform, Beijing's sub-center has established an online interactive and collaborative mechanism with all other 16 districts of the city. It further enhances convenience for businesses and the public to access government services across different regions.

Since 2021, the city's sub-center has empowered government services with the new "cloud window" model, initiating the creation of a government service network for the coordinated administration of the Beijing-Tianjin-Hebei region.

Currently, the sub-center has achieved cross-regional service access for 3,543 government service items, along with 5,159 items and 301 public convenience service items from the other 16 districts of Beijing. Additionally, it has established cross-regional coordination with 26 local government service halls in Tianjin, Hebei province, and other areas such as Hohhot, capital of Inner Mongolia autonomous region.

Next, the sub-center will continue to deepen the reform of government services, allowing businesses and residents to access more services that would traditionally require traveling, right in their local area, said Ma Shuhui, deputy director of Beijing Tongzhou District Government and Data Bureau.

Beijing will roll out more than 1,900 cultural and tourism activities and over 100 pro-consumption events during the upcoming May Day holiday, city officials announced Thursday.

The initiative is part of the capital's broader efforts to promote integrated development across commerce, culture, tourism, and sports. 

To encourage short trips to rural areas near the capital, 10 villages in districts such as Mentougou, Fangshan, and Tongzhou will host special events, including canal festivals and flower viewings. City parks will provide visitors with a variety of immersive experiences, ranging from traditional performances and creative marketplaces to educational programs. 

During the May Day holiday, Beijing is set to host 1,178 commercial performances and 574 public cultural events, such as exhibitions, concerts, performances, and cultural heritage workshops. Highlights include the May Music Festival at the National Centre for the Performing Arts, a Mandarin-language production of "The Count of Monte Cristo," and ballet performances of "Dream of the Red Chamber." For younger audiences, adaptations of "The Little Prince" will be presented. 

The city will also host major sports competitions, including the Super Final of the World Aquatics Diving World Cup 2025 and professional basketball games. Additionally, Beijing will launch its first Extreme Sports Festival, featuring open parkour and fitness competitions.

A key part of the initiative involves the culture and tourism promotion events, which combine entertainment, shopping, and dining. These will include cultural festivals in Qianmen Street and Happy Valley, outdoor markets, music festivals, and cultural heritage handcraft fairs across the city.

The opening of new stores is also expected to draw attention,including the China debut of fashion brands such as WOOYOUNGMI and ISAIA, as well as Beijing's first locations for boutique retailers and restaurants offering traditional and contemporary Chinese cuisine.

In 2024, Beijing ranked first in China for the number of high-value invention patents per 10,000 people and third globally in science and technology clusters, according to a press briefing held Thursday by the Beijing Municipal Intellectual Property Office.

The capital city granted 199,702 patents last year, including 119,635 invention patents. It also registered 237,367 trademarks and recorded around 1.3 million copyright registrations. Applications for new plant varieties totaled 962, with 361 approved.

At the end of last year, Beijing held 663,490 valid invention patents, a year-on-year increase of 15.52%, and 3.23 million valid trademark registrations, up 4.98%. The city maintained its leading position in high-value invention patents per 10,000 people, reaching 159.81. According to the Global Innovation Index 2024 by the World Intellectual Property Organization, Beijing rose one spot to rank third among global science and technology clusters.

The city has also made significant strides in protecting overseas IP. Its overseas intellectual property public service database now contains 110,000 entries and has provided 46,400 overseas information services. In promoting patent commercialization, the city registered 2,058 patent transfer and licensing contracts in 2024, with a total transaction value of 16.69 billion yuan (US$2.29 billion). It also recorded 2,996 open patent license declarations - the highest in the country.

Efforts to expand public IP services have continued as well. The city now has 108 IP service workstations and 73 public service information outlets, with increasing service coverage for emerging and future-oriented industries.

China made significant strides in intellectual property development in 2024, ranking 11th in the Global Innovation Index and recording notable achievements in patent grants, trademark registrations, and copyright filings, according to a press conference Thursday.

The State Council Information Office invited five healthcare representatives to meet journalists and answer questions in Beijing on Tuesday. From chief neurosurgeon to village doctor, the medical practitioners have contributed to and witnessed China's healthcare development that enhances people's well-being.

As artificial intelligence rapidly transforms the translation landscape, how can the translation industry enhance the global reach and impact of Chinese discourse? In an exclusive interview with China.org.cn, Gao Anming, editor-in-chief of China International Communications Group and executive vice president and secretary general of the Translators Association of China, illustrates the significance of approaching translation as cross-cultural re-creation to truly tell China's story well — using the term "targeted poverty alleviation" as an example. Furthermore, he noted that "technology is an 'accelerator,' but humans are the 'anchor;' the future of translation lies in human-AI collaboration so we can better serve China's international communication and contribute to building a global voice rooted in Chinese perspectives."

China's patent examination system is becoming faster, more accurate, and increasingly trusted. The average review time has been reduced to 15.5 months, among the quickest globally, with an accuracy rate of 95.2% and a user satisfaction score of 86.8, an official from the China National Intellectual Property Administration said Thursday.

Beijing is moving forward with the construction of 160 major projects in the second quarter, according to the Beijing Municipal Commission of Development and Reform (BMCDR).

Major projects that commenced in the first three months of the year accounted for over 30% of the city's total investment. All 160 projects scheduled to begin in the first quarter commenced, representing a combined investment of over 340 billion yuan ($46.7 billion). A total of 49 new projects began construction, the highest for the same period in recent years. 

Project highlights include the expansion of Beijing Children's Hospital in Yizhuang and the Capital Institute of Pediatrics in Tongzhou district. The Dongbabei Campus of the Beijing Academy is set to open in September, with capacity for 78 classes. The new facility aims to address the shortage of school placements in the area and support the balanced development of compulsory education. 

Additional developments slated for the second quarter include the renovation of the Wangfujing Foreign Language Bookstore, and the start of construction for the city's first Mixc shopping mall and the Hopson Mall in Fengtai district. Two large-scale logistics facilities will also break ground in Fangshan district. 

Beijing will continue to drive the construction of major projects, launch new investment initiatives, and introduce another batch of projects suitable for private capital in the first half of the year, said Wang Danli, director general of the Investment Department at BMCDR.

Beijing is reinforcing its status as China's filmmaking hub, as the city showcased 10 upcoming locally produced films during a promotional event at the ongoing Beijing International Film Festival.

The featured films, including "Dongji Island," "The One," and "Good Job," were introduced by their creative teams, who shared highlights and updates on the projects.

Zhu Wenjiu, producer of "Dongji Island," said the film reflects the bravery and kindness of the Chinese people. Dong Runnian, producer of "Good Job," described the movie as "a refreshingly original comedy" that will offer audiences a new experience.

According to an official from the Publicity Department of the CPC Beijing Municipal Committee, the capital city remains the most active city in China for film production. In 2024, 775 films were registered and approved in the city, accounting for a quarter of the national total. Of the 55 domestic films that grossed over 100 million yuan (US$13.72 million), nearly one-third were Beijing productions, with four ranking among the top 10 box office hits of the year.

Over the years, Beijing has strongly supported film production through clear policy direction and targeted funding for outstanding projects. It was also the first city in China to establish a dedicated government film support fund. Early last year, the city introduced new measures aimed at promoting high-quality development in the capital's film and television industry.

In 2024, Beijing provided funding support to 67 film projects, doubling the number from the previous year.

Beijing ports had seen over 6 million cross-border passenger trips as of Wednesday, marking a 22% year-on-year increase and reaching the 6 million milestone 23 days earlier than last year.

The number of inbound and outbound border crossings by foreigners through Beijing ports reached 1.57 million as of April 22, a year-on-year increase of 41.7%. Specifically, the number of inbound visits reached 817,000, up 42% compared to the same period last year. 

More than 402,000 entries were made under the visa-free and 240-hour temporary entry permit policies, 2.1 times the number recorded during the same period last year. Foreigners entering for tourism, business, and family visits accounted for 72.5% of the total, 1.44 times higher than last year.

Beijing ports are expected to see another peak of cross-border travel during the coming five-day May Day holiday. To manage this surge, the Beijing General Station of Exit and Entry Frontier Inspection will implement proactive measures.

The measures include deploying officers proficient in foreign languages to provide assistance, and publishing information on port traffic and peak time forecasts through official WeChat accounts and other platforms to help travelers better understand entry and exit conditions in advance.

Editor's Note: The "Best Handicrafts of China" exhibition opens at the Beijing Arts and Crafts Museum from April to May, showcasing 110 masterpieces from across the country. The collection features traditional crafts, including jade carving, metal engraving and decorative painting, highlighting both centuries-old techniques and contemporary innovations in Chinese craftsmanship.

A large multi-layered paper-cut artwork inspired by embroidery from China's Miao ethnic minority is displayed at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

An elephant-shaped enamel ornament is showcased at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

A decorative vase inspired by the shape of the yueqin, a type of Chinese classical musical instrument, on display at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

A silver-enamel artwork presented at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

A lidded box featuring filigree inlay, one of Beijing's eight traditional arts and crafts, exhibited at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

Accessories made with intricate filigree craftsmanship at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

An artwork depicting the ancient Chinese myth "Jingwei's Attempt to Fill the Sea" displayed at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

A bridal headdress art piece integrating multiple traditional Chinese crafts, including filigree, embroidery and sculpture, showcased at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

An astronaut sculpture carved from white marble shown at the "Best Handicrafts of China" exhibition at the Beijing Arts and Crafts Museum, April 23, 2025. [Photo by Liao Jiaxin/China.org.cn]

Organizers announced at a press conference in Beijing on April 23 that the 2025 Shanghai Cooperation Organization (SCO) Film Festival will be held in Chongqing in June.

Representatives from Chinese film authorities and SCO countries launch the 2025 SCO Film Festival in Beijing, April 23, 2025. [Photo courtesy of BJIFF Organizing Committee]

The film festival will take place from June 23-27 in the Yongchuan district of Chongqing, sponsored by the China Film Administration and Chongqing municipal government. This marks the SCO Film Festival's return after a seven-year hiatus since its inaugural edition in Qingdao, Shandong province, in 2018.

Coinciding with the 130th anniversary of world cinema and the 120th anniversary of Chinese cinema, this cultural event aims to harness the universal language of film to promote SCO member countries' civilizational values of equality, mutual learning, dialogue and inclusiveness.

During the press conference held at the 15th Beijing International Film Festival (BJIFF), Mao Yu, executive deputy director general of China Film Administration, proposed further opening China's film market by encouraging domestic distributors to acquire and screen outstanding films participating in the SCO Film Festival in theaters or on television.

He also announced plans for the SCO Young Filmmaking Talent Exchange Program, which will train aspiring young filmmakers across member states, and the upcoming establishment of an SCO Film Producers Association Alliance designed to deepen comprehensive cooperation and exchange while creating professional, efficient communication platforms for pragmatic collaboration among SCO nations.

Shri Janesh Kain, SCO deputy secretary general, expressed confidence that the festival held during China's presidency rotation will provide a unique opportunity to demonstrate the strength of the "Shanghai Spirit," which features mutual trust, mutual benefit, equality, consultation, respect for cultural diversity and pursuit of common development. He added that the festival will serve as a vital platform for promoting cultural dialogue, enhancing mutual understanding and bringing people closer together.

The event will feature six main components: opening and closing ceremonies, film competition, film market, film cooperation forum and country-in-focus sections, along with five special programs including film technology exhibition, film-themed music festival, film panorama screenings, outdoor marketplaces and cultural exchange activities.

Sixty classic films from 12 SCO member countries will be screened across Chongqing's major cinemas, outdoor venues and the China Movie Channel, along with local premieres of select summer blockbusters.

This edition of the SCO Film Festival will present a total of 12 awards including best film, best director, best actor and best actress. The international jury will consist of film professionals from member and observer states, with each state sending one juror. Renowned Chinese producer, screenwriter and professor Ren Zhonglun will serve as jury president.

Guan Hong, executive deputy director of the Publicity Department of the CPC Chongqing Municipal Committee and head of the Chongqing Film Bureau, explained that hosting the festival in Chongqing reflects the municipality's unique and pivotal position in China's regional development and opening up strategy, along with its longstanding, fruitful cooperation with SCO member states. He warmly welcomed global filmmakers and investors to explore new frontiers of cross-cultural exchange and film industry development in Chongqing.

Editor's note: Chinese seal engraving, an ancient and revered art form, has long been a central part of China's cultural heritage. The practice involves carving characters, symbols and motifs onto seals — often made from materials such as stone, jade and wood — which are then used to stamp or "seal" official documents, artworks and personal correspondence. 

This art form has been used for over two millennia, evolving from simple stamps to intricate works of art that embody not only technical skill but also cultural significance. In 2009, Chinese seal engraving was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, acknowledging its historical value, craftsmanship and continuing role in Chinese society.

The origins of Chinese seal engraving can be traced back to the Shang dynasty (1600–1046 BC), where the earliest examples of seals were found on oracle bones, used for divination. During this period, seals were used as a mark of authority, primarily by kings and nobility. The engraving was initially rudimentary, with simple inscriptions carved into the surface of the seal.

By the time of the Qin dynasty (221–207 BC), the use of seals had become more widespread. Emperor Qinshihuang standardized the seal format for official use, and it became a symbol of imperial power. Seals during this period were typically square, and the inscription was often the title or the name of the emperor or government official. This standardization paved the way for the flourishing of seal engraving throughout Chinese history.

During the Tang (618–907) and Song (960–1279) dynasties, scholars and artists began to use seals as a form of personal expression, incorporating fine calligraphy, elaborate motifs, and even poetic inscriptions into the designs. These designs often reflected the personality or aspirations of the owner, making each seal a unique artistic creation.

The Ming (1368–1644) and Qing (1644–1911) dynasties saw further refinement in the techniques of seal engraving. The development of specialized tools, such as the seal engraving knife and the increased use of jade and other precious materials, allowed artists to carve more detailed and sophisticated designs. In this period, seals became integral not only to official documentation but also to the personal and social lives of Chinese individuals, particularly scholars, artists and government officials.

Today, Chinese seal engraving remains a respected and vibrant art form, though its practice has been affected by modern technological developments. While seals are still used in official capacities, particularly in legal, governmental and corporate settings, the role of the seal as a cultural object of personal expression has shifted. Seal engraving continues to be a respected craft, particularly in the realm of Chinese calligraphy and painting, where artists often use seals to mark their works.

The art of seal engraving is taught in specialized schools and workshops, where traditional techniques are passed down from master engravers to apprentices. The use of seals in the world of modern art and literature continues to thrive, and many contemporary Chinese artists still carve their personal seals to complement their work.

However, like many traditional art forms, Chinese seal engraving faces challenges in the modern era. Rapid urbanization and the growth of digital communication technologies have reduced the demand for traditional seals in daily life. Yet, the cultural significance of seal engraving has been preserved through academic and cultural initiatives aimed at protecting and promoting this art form. Museums, galleries and exhibitions devoted to Chinese seal engraving continue to draw attention to its historical and artistic value, helping to ensure that the craft is kept alive for future generations.

In its recognition of Chinese seal engraving, UNESCO emphasized the art form's exceptional cultural value, noting its importance in both Chinese history and contemporary life. The organization praised the intricate craftsmanship involved in seal engraving, which combines technical skill with artistic expression. UNESCO also highlighted the role of seals in Chinese cultural practices, such as calligraphy, painting and poetry, where they serve as personal emblems and symbols of identity.

UNESCO further stressed the need for preserving the art of seal engraving, particularly as it faces challenges from modern technology and the loss of traditional knowledge. The organization's recognition aims to raise awareness of the importance of preserving both the techniques and the cultural context in which the craft is practiced. UNESCO's designation serves not only to honor the artistry of Chinese seal engraving but also to promote its continued transmission through education, research and cultural exchange.

By inscribing Chinese seal engraving on the Representative List of Intangible Cultural Heritage, UNESCO has reaffirmed its value as an enduring cultural practice that connects the past with the present, highlighting the way traditional arts continue to shape and enrich cultural identity in the modern world.

Discover more treasures from China on UNESCO's ICH list:

• 2024: Spring Festival

• 2022: Traditional tea processing

• 2020: Wangchuan ceremony, taijiquan

• 2018: Lum medicinal bathing of Sowa Rigpa

• 2016: Twenty-four solar terms

• 2013: Abacus-based Zhusuan

• 2012: Training plan for Fujian puppetry performers

• 2011: Shadow puppetry, Yimakan storytelling

• 2010: Peking opera, acupuncture and moxibustion, wooden movable-type printing, watertight-bulkhead technology of Chinese junks, Meshrep

• 2009: Yueju opera, Xi'an wind and percussion ensemble, traditional handicrafts of making Xuan paper, traditional firing techniques of Longquan celadon, Tibetan opera, sericulture and silk craftsmanship, Regong arts, Nanyin, Khoomei, Mazu belief and customs, Dragon Boat Festival, Manas, Craftsmanship of Nanjing Yunjin brocade, Xinjiang Uygur Muqam art, Hua'er, China engraved block printing technique, Chinese traditional architectural craftsmanship for timber-framed structures, Chinese paper-cut, Chinese calligraphy

• 2008: Kunqu opera, Guqin

A record 21 Peking Opera films from the Peking Opera Film Project are being screened during the 15th Beijing International Film Festival, with two new productions having premiered Monday.

Ren Yue, deputy general manager of China Film Co., Ltd., speaks at a launch event for the Peking Opera films screening segment of the 15th Beijing International Film Festival and the premiere of two new films at the China National Film Museum in Beijing, April 21, 2025. [Photo courtesy of China Film Co., Ltd.]

The new films, "All Red is the River" and "Xue Pinggui and Wang Baochuan," both directed by Xiao Feng, represent the latest cinematic efforts to preserve and showcase Peking Opera, one of China's most celebrated traditional performing arts.

The Peking Opera Film Project, founded in 2011, has backing from the Publicity Department of the Communist Party of China Central Committee, provincial and municipal publicity departments, and industry stakeholders. China Film Co., Ltd. and other companies have committed substantial resources to producing and promoting these films with notable success.

"We have established extensive and diverse promotional channels for Peking Opera films, actively collaborating with various ministries and departments and focusing on grassroots cultural initiatives to bring these films to wider audiences," Ren Yue, deputy general manager of China Film Co., Ltd., said at a launch event at the China National Film Museum in Beijing on Monday.

Ren revealed that China Film Co. will use its distribution network to launch a nationwide long-term screening campaign for Peking Opera films beginning in late April, involving its 119 company-invested cinemas.

"We will spare no effort to ensure more people can see Peking Opera films, writing a contemporary response to the creative transformation and innovative development of outstanding traditional Chinese culture," she said.

According to Ren, China Film Co. consistently prioritizes authentic Peking Opera performances while using film as a medium. The company strives to preserve traditional theatrical elements while employing modern cinematography to make the art form more accessible to today's audiences.

Cast, crew, officials and guests gather at the China National Film Museum for the launch of Peking Opera film screenings during the 15th Beijing International Film Festival, April 21, 2025. [Photo courtesy of China Film Co., Ltd.]

Since the project began in 2011, the shift from stage to screen and from in-person to digital formats has introduced opera characters to wider audiences, said Qin Yan, director of the Jingju Theater Company of Beijing, one of China's top Peking Opera troupes.

Wang Yong, president of the China National Peking Opera Company, said at the event that future efforts will deepen collaboration with filmmakers while embracing digital technologies to develop a more modern and internationally accessible form of Peking Opera.

This year marks the 120th anniversary of Chinese cinema, which began with the 1905 Peking Opera film "The Battle of Dingjunshan." From these origins to today's technologically enhanced productions, the integration of Peking Opera and film has helped preserve and modernize this cultural tradition.

The China National Film Museum is currently preparing to digitize its Peking Opera Film Project exhibition, said Huang Xiaowei, the museum's director. The initiative aims to create new platforms for sharing and preserving the art form.

Filmmakers and officials attend the premieres of "All Red is the River" (top) and "Xue Pinggui and Wang Baochuan" (bottom) at the China National Film Museum in Beijing, April 21, 2025. [Photo courtesy of China Film Co., Ltd.]

Twenty-one Peking Opera films created over the years are being screened during the festival, with 10 of them showing at Daguanlou Cinema in Beijing. The venue, China's oldest cinema and known as the "birthplace of Chinese cinema," is where "The Battle of Dingjunshan" premiered in 1905. After the festival, Daguanlou and Capital cinemas plan to continue screening all 21 films from the Peking Opera Film Project.

The Chinese Film Overseas Distribution Award ceremony was held on April 20 during the 15th Beijing International Film Festival (BJIFF) to recognize the efforts of domestic and international distributors bringing Chinese films to foreign markets.

Industry leaders and recipients pose for a group photo at the inaugural Chinese Film Overseas Distribution Award ceremony during the 15th BJIFF in Beijing, April 20, 2025. [Photo courtesy of BJIFF Organizing Committee]

Jiao Hongfen, chairman of the China Film Producers Association, affirmed the remarkable achievements in Chinese cinema's global distribution at the ceremony. He also noted the growing presence of Chinese films in international theaters and on streaming platforms as a testament to the industry's rapid advancement and its culturally distinctive storytelling that resonates worldwide.

"The film industry should view these awards as a new starting point," he said. "We must encourage more filmmakers to join global outreach, deepen China-foreign cooperation models, and use cinema as a bridge to showcase China's cultural richness, while injecting cinematic artistry and emotional resonance into building a community of shared future for mankind."

Three domestic Chinese companies — CMC Pictures, China Lion Film and Tiger Pictures Entertainment — received the inaugural Chinese Film Overseas Distribution Award. 

CMC Pictures operates in 103 countries across six continents, having distributed over 100 films including "The Wandering Earth," "Nezha" series and "Wolf Warrior 2." China Lion Film pioneered simultaneous global releases for Chinese films, delivering nearly 200 titles including the "Creation of the Gods" trilogy to North America, the United Kingdom and Oceania. Tiger Pictures Entertainment has boosted Chinese cinema's global presence through film festival screenings and remake partnerships.

Two overseas-based Chinese firms honored were Heylight Pictures, which has distributed such Chinese films as "Creation of the Gods I & II," "The Wandering Earth 2," "Full River Red" and "Deep Sea" in Europe, Africa and Latin America, and FaceWhite, which focuses on the Japanese market and recently secured Japan's first simultaneous release of "Creation of the Gods II: Demon Force" while also maintaining a Japanese website promoting Chinese cinema.

International recipients included Sony Pictures Entertainment, Well Go USA, Trinity CineAsia and MM2 Entertainment. 

Sony Pictures used its global network to distribute Chinese films including "Hi, Mom" and "YOLO" worldwide. Well Go USA has brought more than 100 Chinese films to North America, covering multiple genres such as science fiction, comedy, animation and martial arts. Trinity CineAsia, one of Europe's largest Chinese-language film distributors, saw "Ne Zha 2" set box office records for Chinese films in the region. MM2 Entertainment, a Singapore-based media company, enhanced cultural exchange through its Southeast Asian network and distributed more than 20 Chinese titles including "Creation of the Gods II" and "Detective Chinatown 1900."

Mao Yu (L), executive deputy director general of China Film Administration, presents an award certificate to Arun Kapur, who appears along with his wife Sushma and son Aman during the Chinese Film Overseas Distribution Award ceremony at the 15th BJIFF in Beijing, April 20, 2025. [Photo courtesy of BJIFF Organizing Committee]

Star Films of Peru received recognition and a special tribute for its three-generation dedication to distributing Chinese films in Latin America. Founder and producer Arun Kapur, whose passion for films came from his father O.P. Kapur — one of India's first film exhibitors — has distributed over 50 Chinese titles including "High Forces," "The Rescue" and "The Climbers" across the region. The family business continues through son Aman Kapur, maintaining their 17,000 km-distant commitment to Chinese cinema while cultivating devoted Latin American audiences. 

This year's BJIFF also hosted a forum on the same day exploring opportunities and challenges for Chinese films in global markets. The panel discussion analyzed how different genres perform overseas and examined successful cross-cultural storytelling approaches, from diverse content to diverse audiences. Industry experts from Well Go, MM2, Star Films, Heylight and FaceWhite participated and emphasized that film quality and narrative power matter more than genre, noting they need compelling stories that transcend language and cultural barriers. They also stressed the importance of cultivating audience viewing habits and cultural resonance while recognizing that film promotion serves not only to present movies but also to showcase China's contemporary image.

Executives take part in a panel discussion on "Chinese Film Overseas Distribution and Promotion" during the 15th BJIFF in Beijing, April 20, 2025. [Photo courtesy of BJIFF Organizing Committee]

"Chinese stories are receiving increasing media attention," said Boris Pugnet, a partner at Heylight. "When discussing Chinese films with international audiences, we must address China's culture and global image, which are currently undergoing significant transformation. For foreign audiences, perceptions of China are changing rapidly."

Filmmakers and distributors gathered at an industry forum during the 15th Beijing International Film Festival on April 19 to discuss the global success of "Ne Zha 2" and its implications for China's growing influence in the worldwide box office.

Catherine Ying, vice president of CMC Inc. and president of CMC Pictures, speaks at a forum during the 15th Beijing International Film Festival, April 19, 2025. [Photo courtesy of the BJIFF Organizing Committee]

"Ne Zha 2" represents a breakthrough moment not only for China's domestic film industry but for global cinema as well, according to Catherine Ying, president of CMC Pictures, which distributed the animated blockbuster in North America, Australia and New Zealand.

Ying reported enthusiastic receptions in all markets where the film was released, with positive responses from both international filmmakers and audiences.

"This phenomenon demonstrated how a single film's monumental success in one market could reaffirm cinema's enduring power - proving films will never die but live on eternally in spirit," she noted.

Since debuting during this year's Spring Festival, "Ne Zha 2" has earned more than $2.16 billion globally, with $2.1 billion from China and $20.93 million from North America. The film stands as 2025's top-grossing release, the highest-earning Chinese film ever and the highest-grossing animated film of all time. It currently ranks fifth on the all-time worldwide box office chart.

The executive said the release demonstrated that Chinese films require more robust promotion and distribution strategies to maximize success. Her team is now producing an English-dubbed version of "Ne Zha 2" for re-release, aiming to reach broader international viewers beyond Chinese diaspora communities.

"The film's universal themes and emotional resonance connect with global audiences while showcasing China's highest standards of animation production," Ying said. She added that her company would apply lessons from this distribution experience to develop more targeted promotion strategies for upcoming Chinese blockbusters like "Ne Zha 3" and "The Wandering Earth 3."

Filmmakers and distributors join a forum for exchanges at the 15th Beijing International Film Festival, April 19, 2025. [Photo courtesy of the BJIFF Organizing Committee]

Cedric Behrel, managing director of Trinity CineAsia, which distributed "Ne Zha 2" in Europe, said the film became the highest-grossing Chinese release in the region in two decades. He noted this milestone inspires both Chinese cinema and the global film industry, as the animated feature resonates deeply with international audiences, especially younger viewers. Behrel praised Chinese filmmakers for creating distinctive stories that transcend cultural barriers.

Veteran filmmaker Huang Jianxin expressed his belief that "Ne Zha 2" is inherently a film made for the world rather than a Chinese movie adapted for international audiences. He explained that director Jiaozi utilized a universal coming-of-age story about Nezha to create a film with innate worldwide appeal.

"This intrinsic global quality is why it succeeded internationally, not because we modified it to be understood across cultures," Huang added.

He acknowledged competitive pressures from video games, short-form videos and other entertainment alternatives that cater to fragmented leisure time, questioning whether traditional film runtimes can still deliver value that justifies audiences' time investment.

"This year marks 130 years of world cinema and 120 years of Chinese cinema," Huang said. "Compared to art forms like music, dance, theater and painting with millennia of history, film is still an energetic child — one that will undoubtedly forge exciting new paths."

He noted that while the North American box office has plateaued at around $10 billion annually, representing its industrial scale, the extraordinary performance of "Ne Zha 2" demonstrates how a single film can "break the ceiling."

"But we can't expect the ceiling to replace total scale," Huang advised, urging peers to stay confident despite inevitable fluctuations. "China's film industry will keep climbing."

Director Andrew Lau, whose new film "The Dumpling Queen" releases April 30, strongly agreed. He reflected on Hong Kong cinema's cyclical ups and downs: "Through peaks and valleys, filmmakers persist. The market may shift, but we stand united in our craft. We must keep striving to find great stories worth bringing to the screen and trying something new."

IMAX China CEO Daniel Manwaring speaks at a forum during the 15th Beijing International Film Festival, April 19, 2025. [Photo courtesy of BJIFF Organizing Committee]

IMAX China CEO Daniel Manwaring presented research showing that while only 32-38% of Western audiences prefer theaters, China leads globally at 78%. "Last year was slow, but this Spring Festival proved Chinese audiences still love the big screen," he said, emphasizing filmmakers' responsibility to keep drawing audiences to theaters.

Manwaring said that IMAX will expand offerings like esports broadcasts to reach new demographics this year. Last year's "League of Legends" World Championship screenings across 200 IMAX theaters in China attracted audiences who had largely abandoned cinemas, with data showing 80% hadn't visited a cinema in five years. However, 90% said they planned to return.

Lau noted that cinema continually elevates the viewing experience through technological advancements. "Many audiences still don't fully understand formats like Dolby or IMAX," he said. "We need to better promote these tech things — to show people that watching films on phones can't compare to the theatrical experience."

Manwaring acknowledged the importance of theater technology but stressed that even the best marketing and presentation cannot save films with poor storytelling.

"Years ago, people rushed projects out to make quick money or recoup costs quickly — I understood that but felt most directors and screenwriters lacked time to develop good stories," he said.

"Now the industry is changing, slowing down to prioritize quality, especially after seeing what patiently developed projects like "Ne Zha 2" can achieve," he said.

The 2025 Beijing Book Fair kicked off on Tuesday, with its main exhibition venue set in Chaoyang Park. For the first time, a sub-venue has been established in the Beijing sub-center, alongside additional book markets in Shijingshan and Fengtai districts.

At the Wangfujing Bookstore exhibition area, over 3,000 titles from more than 100 publishing houses are on display, covering topics such as Beijing culture, Chinese classics, and the Central Axis of Beijing.

The Yayuncun Book Building presents a youthful and vibrant atmosphere, offering titles that appeal to younger readers. Highlights include books on healthy living and a new release by Nini, author of the popular comic "Oysters with Shells Are the Hearts of Grown-Ups."

An exhibition of vintage books features 80 classic titles spanning poetry, fiction, and drama. Alongside the books are famous quotes from their pages, giving visitors a chance to reflect on the literary legacy they carry.

In a vivid blend of literature and craftsmanship, the fair also hosts an exhibition on Beijing Silk Figures — national intangible cultural heritage. Over 100 handcrafted dolls and figurines are on display, grouped into themes such as historical drama, Tang dynasty aesthetics, folklore, and classic literature.

Bookstores from Nanjing and Hangzhou also join in with their cultural creative products and signature activities. 

The book fair will run until May 5.

Beijing‑Tianjin‑Hebei's private sector posted 142.75 billion yuan (about US$20 billion) in exports during the first quarter of 2025, marking an 8.5% year‑on‑year increase and raising its share of the region's total exports by 3.6 percentage points to 44%. Data released by Beijing Customs shows that private enterprises are now the engine of regional foreign trade, with both volume and value expanding in key segments.

Several new cross‑border freight rail services have opened in Q1, offering faster, more cost‑effective routes and unlocking new markets for private exporters. In March, the first direct freight train from Beijing's Fangshan district to Tashkent, Uzbekistan, departed carrying 90 standard containers filled with air-handling units, compressors and engines valued at over 16 million yuan. Around the same time, a dedicated rail link bound for Vietnam began operations from Handan, Hebei, trimming transit times by roughly 20% compared with previous routes and strengthening ties with ASEAN markets.

Automotive exports have emerged as a standout growth driver for private companies across the region. Private‑sector auto exports grew 23.4% year on year to 12.55 billion yuan in Q1, while parts shipments increased 39.4% to 5.08 billion yuan. Together, these two categories accounted for 12.3% of private‑sector exports, lifting the overall growth rate by three percentage points.

Domestic brands beyond the auto sector also recorded impressive gains. Self‑owned‑brand exports climbed 36.4% to 45.79 billion yuan. They accounted for 32.1% of private exports, 6.6 percentage points higher than in Q1 2024. 

Beijing in particular has seen sustained strength in its private sector's overseas performance. Its private enterprises recorded 35.57 billion yuan in exports — a 33.7% jump — extending a streak of 21 consecutive months of year‑on‑year growth and outperforming the national private‑sector export average by 26.7 percentage points. 

China's capital city Beijing will introduce six innovative measures to streamline the review and approval process for medical devices. These initiatives aim to expedite approvals, encourage innovation, and attract businesses to the city. 

In 2024, Beijing has intensified efforts to improve its regulatory framework and foster a thriving environment for innovation in the medical device sector. The city has significantly reduced the average time for initial registration of medical devices to just 43 working days. 

In addition, Beijing has attracted 14 medical device companies from other provinces, including notable entities like Alibaba DAMO Academy, to establish new operations in the city.

To support industry growth, Beijing has established partnerships with 18 medical device industrial parks, providing targeted services to enterprises. The city plans to increase the number of pilot industrial parks this year and develop replicable service models that can be implemented in other areas.

Furthermore, Beijing is leveraging technology to streamline regulatory processes and support the medical device industry. An AI model is under development to assist with medical device registration consultation and review processes. This innovation will help to enhance the efficiency and quality of reviews by addressing common challenges and freeing up reviewers' time.

Editor's note: Guqin, a plucked seven-string zither, is one of the oldest and most revered traditional Chinese musical instruments. Known for its refined sound and deep cultural symbolism, the Guqin has been an essential part of Chinese cultural life for over three millennia. 

In 2008, it was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The Guqin is celebrated not only for its distinctive, meditative sound but also for its close association with Chinese philosophy, poetry and calligraphy.

The origins of Guqin date back over 3,000 years. It has long been associated with Confucian values and the cultivation of moral character. Guqin was one of the four arts — along with calligraphy, painting and an ancient form of chess — that Chinese scholars were expected to master. Throughout the dynasties, it became a symbol of inner harmony, reflection and the spiritual quest of the literati class.

Guqin music is known for its quiet, subtle tones and wide range of expressive techniques. Its repertoire includes a mixture of ancient melodies — some dating back hundreds or even thousands of years — and more recent compositions. The instrument's playing techniques, such as sliding, plucking and harmonics, allow the performer to express complex emotions and philosophical ideas. Many Guqin pieces are linked with nature or friendship themes, such as "Running Water" and "Yangguan Sandie (Parting for Yangguan)."

Guqin playing developed as an elite art form, practiced by noblemen and scholars in intimate settings, and was therefore never intended for public performance.

In the 20th century, the Guqin faced significant challenges due to the changes of the times. The number of Guqin players and masters declined sharply, and many ancient instruments and manuscripts were lost.

However, recent decades have seen a revival of interest in the Guqin, both within China and internationally. Conservatories, cultural institutions, and independent scholars have worked to preserve and promote Guqin music through performances, recordings, academic research and education. Young people are increasingly drawn to the instrument as a symbol of cultural identity and spiritual depth.

Today, Guqin societies operate across China and abroad, organizing workshops, concerts and gatherings. Efforts have also been made to digitize ancient manuscripts and incorporate Guqin education into school curricula. Despite these positive developments, the tradition remains vulnerable due to its complexity, the limited number of skilled masters, and the challenge of maintaining traditions in a modernized society.

In recognizing the art of Guqin music, UNESCO highlighted its historical importance, artistic value and philosophical depth. The organization noted that Guqin music reflects key elements of traditional Chinese culture, including Confucianism, Taoism and Buddhism. Its meditative nature promotes introspection and harmony between people and the natural world.

UNESCO also emphasized the need to preserve Guqin's traditional transmission and craftsmanship methods, as well as to support efforts that ensure its continued practice and relevance in the modern era. The designation as Intangible Cultural Heritage aims to encourage both governmental and community support to preserve this extraordinary tradition for future generations.

Discover more treasures from China on UNESCO's ICH list:

• 2024: Spring Festival

• 2022: Traditional tea processing

• 2020: Wangchuan ceremony, taijiquan

• 2018: Lum medicinal bathing of Sowa Rigpa

• 2016: Twenty-four solar terms

• 2013: Abacus-based Zhusuan

• 2012: Training plan for Fujian puppetry performers

• 2011: Shadow puppetry, Yimakan storytelling

• 2010: Peking opera, acupuncture and moxibustion, wooden movable-type printing, watertight-bulkhead technology of Chinese junks, Meshrep

• 2009: Yueju opera, Xi'an wind and percussion ensemble, traditional handicrafts of making Xuan paper, traditional firing techniques of Longquan celadon, Tibetan opera, sericulture and silk craftsmanship, Regong arts, Nanyin, Khoomei, Mazu belief and customs, Dragon Boat Festival, Manas, Craftsmanship of Nanjing Yunjin brocade, Xinjiang Uygur Muqam art, Hua'er, China engraved block printing technique, Chinese traditional architectural craftsmanship for timber-framed structures, Chinese paper-cut, Chinese calligraphy

• 2008: Kunqu opera

People taste grapes at a grape fair in Turpan, northwest China's Xinjiang Uygur autonomous region, Aug. 17, 2024. [Photo/Xinhua]

China's human rights approach emphasizes pragmatism, diversity, and mutual respect, as demonstrated by its poverty eradication efforts and global cooperation initiatives like the Belt and Road Initiative and the Global Development Initiative. 

This was highlighted at the 2025 Asian Forum on Human Rights, held in Chongqing on April 19. Under the theme "Science & Technology and Human Rights," the forum brought together regional scholars to discuss technology's impact on human rights.

Chen Youwu, executive director of the Human Rights and Rule of Law Research Center at Guangdong University of Technology, said China's human rights philosophy centers on serving people and prioritizing their well-being. He noted that this principle — that people's happiness is the greatest human right — grants human rights a powerful guiding role in the development of science and technology, promoting technology that benefits society.

Kanatbek Aziz, director of the National Institute for Strategic Studies under the President of Kyrgyzstan, examined the connection between digital governance and human rights. He identified three prevailing models: the European approach, which emphasizes personal data protection; the American system, driven by corporate interests where users are often treated as products; and the Chinese framework, which focuses on digital sovereignty, strategic planning and national security.

Aziz praised China's Global AI Governance Initiative as a necessary contribution to international discussions on technology regulation. "The initiative emphasizes the need for safe, orderly and reliable development of artificial intelligence," he said. "This reflects China's commitment to establishing international frameworks where AI is guided by justice, inclusiveness and technological ethics."

Liu Hongzhen, deputy director of the Human Rights Center at Jilin University, warned that some Western powers misuse both human rights and technology to maintain dominance and escalate geopolitical tensions, citing U.S. attempts to limit China's technological progress.

"The diversity of human rights must be respected, and both hegemonism and the instrumentalization of rights must be resisted," Liu said. "We should approach technological competition through the lens of human rights, thereby promoting reform in global technology governance systems."

Beyond technology, China's commitment to human rights is also demonstrated in its domestic development efforts. Li Zhongxia, deputy director of the Human Rights Research Center at Renmin University of China, highlighted China's poverty alleviation campaign, which lifted 832 impoverished counties and nearly 100 million rural residents out of poverty. The achievement secured basic survival and development rights, which Li described as a major step forward for global human rights.

"If basic needs are not met, discussing political rights becomes detached from reality," Li said. "Human rights development must respond to the people's most urgent needs."

China's commitment to human rights also extends beyond its borders. Through multilateral platforms such as China-ASEAN cooperation, the Lancang-Mekong Cooperation mechanism, the Shanghai Cooperation Organization and the Belt and Road Initiative, China continues to promote peace, security and sustainable development throughout Asia and beyond.

Recent joint statements with Vietnam and Cambodia emphasized that human rights should be pursued according to national conditions, while opposing the politicization of human rights and the application of double standards. The statements also rejected using such issues to interfere in sovereign nations' internal affairs.

Janet Yang, president of the Academy of Motion Picture Arts and Sciences, recently discussed China's growing cultural impact and expressed optimism about cultural exchange between China and the United States.

Janet Yang, president of the Academy of Motion Picture Arts and Sciences, speaks at a forum during the 15th Beijing International Film Festival, Beijing, April 19, 2025. [Photo courtesy of BJIFF Organizing Committee]

Yang, the first Asian American president to lead the film academy, is currently attending the 15th Beijing International Film Festival, which opened on April 18. The nonprofit academy behind the Oscars remains the world's premier organization for film artists with nearly 11,000 members.

The New York-born producer and daughter of Chinese immigrants has long been a significant figure in Hollywood's Asian American community. Her career rose to prominence through her collaboration with Steven Spielberg on "Empire of the Sun," which was filmed in Shanghai. Her subsequent film and television credits include "The Joy Luck Club," "The People vs. Larry Flynt," "Dark Matter" and "Over the Moon."

"My personal and professional experiences tell me that film has a unique power to bring people together," she said at a forum during the film festival on April 19. "That is why I remain perpetually optimistic about cultural exchange between not only our two nations, but among everyone everywhere in the world."

She explained global film collaboration matters because filmmaking is inherently collaborative. Exchanging ideas and techniques enriches creativity and builds universal narratives that drive economic success. As new technologies break barriers, cross-border collaboration becomes indispensable.

"Strategies in today's competitive market for Chinese filmmakers with such a rich cultural legacy, embracing collaboration with international artists, particularly those with an interest in the culture, have amplified Chinese storytelling and created significant financial opportunities. In essence, global collaboration is both a pathway to cultural innovation and a strategic economic advantage that benefits us all," she said.

Yang noted audiences now strongly respond to original, emotionally true and culturally specific stories, citing "Parasite," 2020's historic non-English Oscar best picture winner, and this year's winner "Anora," a small, intimate film with deep humanity. Asian diaspora stories are also gaining major award recognition, she observed, with films like "Everything Everywhere All at Once" — a Chinese American independent absurdist sci-fi comedy-drama — winning seven Oscars including best picture in 2023. Independent Chinese cinema, such as Guan Hu's "Black Dog," which was nominated for a film independent spirit award after its Cannes premiere, proves budget constraints do not limit humanistic force.

"These films prove that audiences don't need to fully understand the culture to be moved by it," she said. "For Chinese filmmakers, this is an amazing opportunity to go global, to get films out into the international marketplace."

Yang's own journey stands as a powerful testament to the value of film as a cultural bridge. She recalled how a 1972 trip to China, where she witnessed her parents' emotional reunion with relatives after 35 years apart, inspired her to study Chinese and later work in Beijing. Immersed in Chinese cinema, she found stories that helped shape her identity and career path. She launched her career by running North America's first Chinese film distribution company, bringing fifth-generation cinema to Western audiences. She facilitated the making of "Empire of the Sun," and continues to help forge bonds between Hollywood and China. Following China's rapid cinematic rise after the 2008 Olympics, she pioneered U.S.-China film summits and co-productions like "Shanghai Calling" and a localized "High School Musical" adaptation.

She noted challenges confronting world cinemas, including lower box office numbers following the pandemic and the new realities of artificial intelligence. While recognizing AI as a powerful tool, she warned of potential risks like job losses and films becoming technically proficient but emotionally hollow.

"Too often, decisions in our business are driven by profit rather than cultural value. We absolutely need a healthy industry to sustain the art form. We also need to protect what makes cinema meaningful — its ability to move us, to challenge us and to reflect our shared humanity," Yang said.

The president noted that millions of overseas Chinese long to see their culture reflected and better understood worldwide. "I believe the world is beginning to listen," she said. 

Just this past year, remarkable signs showed China's culture gaining global momentum — from the success of video game "Black Myth: Wukong" and adaptations of "The Three-Body Problem" novel to the record-shattering achievement of animated movie "Ne Zha 2" — demonstrating the country's growing cultural influence. Social platforms like TikTok, Xiaohongshu and IShowSpeed's recent livestreams in China further showcase Chinese life, while AI tools like DeepSeek extend this reach.

"This phenomenon alone has become a powerful cultural moment in its own right — a terribly exciting milestone," she said. "These are all signals of something larger. China's cultural voice is rising. It's claiming its rightful place on the world stage."

Abu Dhabi National Oil Company (ADNOC) inaugurated its Beijing office on April 18, aiming to strengthen business relationships with Chinese customers and partners. 

ADNOC also announced three liquefied natural gas (LNG) agreements at the ceremony, including the largest LNG deal ever between China and the United Arab Emirates.

Executives and officials from the UAE and China attend the inauguration ceremony for Abu Dhabi National Oil Company's new China office in Beijing, April 18, 2025. [Photo provided to China.org.cn]

Senior officials and business leaders attended the ceremony, including representatives from ADNOC partners China National Petroleum Corporation, Zhenhua Oil and Wanhua Chemical Group. The new office will focus on sales and marketing activities in China, according to ADNOC.

Sultan Ahmed Al Jaber, UAE minister of industry and advanced technology and ADNOC CEO, addresses attendees at the inauguration of ADNOC's new China office in Beijing, April 18, 2025. [Photo provided to China.org.cn]

Sultan Ahmed Al Jaber, UAE minister of industry and advanced technology and ADNOC CEO, said the Beijing office marks a new chapter in the company's long-term energy cooperation with Chinese partners and customers. 

Al Jaber said ADNOC would use the new office and LNG agreements to "join hands with Chinese partners to further explore the potential of all aspects of the energy industry chain" and contribute to China's energy security.

The LNG agreements include a 15-year sales and purchase deal with ENN Natural Gas subsidiary ENN LNG (Singapore), which will supply up to 1 million metric tons of LNG annually from the low-carbon Ruwais project. This represents the largest LNG agreement ever between China and the UAE.

In addition, ADNOC Trading, a wholly owned subsidiary of ADNOC, signed the other two LNG agreements with CNOOC Gas & Power Group and Zhenhua Oil.

After years of close cooperation and strategic coordination, China has become an important importer of ADNOC's products. ADNOC said it will continue to be a long-term, reliable energy partner for China, deepening business ties and promoting sustainable economic growth.

The 2025 Asian Forum on Human Rights opens in Chongqing, southwest China, April 19, 2025. [Photo courtesy of the Human Rights Institute of the Southwest University of Political Science and Law]

The 2025 Asian Forum on Human Rights opened in Chongqing, southwest China, on April 19, bringing together scholars to explore the relationship between technological advancements and human rights.

The forum, hosted by the Southwest University of Political Science and Law (SWUPL), was organized under the theme "Science & Technology and Human Rights."

Jiang Jianguo, executive vice president of the China Society for Human Rights Studies, said at the opening ceremony that Asian countries' shared history, development realities and cultural traditions provide a foundation for human rights discussions. He emphasized continued efforts to build a community with a shared future for mankind, placing human survival and development at the center of technological innovation.

He urged greater application of technological advances in climate, food security and health care, ensuring that innovation benefits all of humanity.

SWUPL President Lin Wei, who also serves as dean of its Human Rights Institute, spoke about how technology redefines the human experience. Lin said that if human rights are understood as "the conditions that make one human," then technology is significantly expanding those conditions.

However, Lin warned that technological innovation poses new challenges to human rights protection. He highlighted emerging technologies such as gene editing and brain-computer interfaces, which, if misused, could create a "biological class divide," undermining equality and human dignity.

Lin stressed the need to harmonize technological progress with human rights, affirming that the non-transferable bottom line of human values must be upheld to ensure technology liberates humanity rather than dehumanizes it.

In his keynote address, Jayanath Colombage, director general of the Institute of National Security Studies of Sri Lanka, discussed artificial intelligence's influence on human rights, particularly autonomous weapon systems.

Colombage expressed concerns about the risks of autonomous weapon systems, which could lead to wrongful killings and indiscriminate attacks, threatening the fundamental right to life. He stressed that without the right to life, no other rights can be enjoyed.

He called for international governance and regulation to establish legal and ethical standards for autonomous weapons deployment.

Zamir Ahmed Awan, founding chair of the Global Silk Road Research Alliance think tank, examined the relationship between technological competition and justice.

Awan said access to advanced technologies is a key component of human rights and criticized the United States for limiting opportunities for international students. He condemned the U.S. government's recent cancellation of visas or legal status for more than 1,000 international students, calling it a human rights violation.

In contrast, Awan praised the China-proposed Belt and Road Initiative and Global Development Initiative for promoting international cooperation, sharing economic development experiences and cultivating high-tech talent through partnerships.

A key highlight of the forum was the participants' consensus that technology must be fundamentally oriented toward the protection of human rights.

Participants said Asia needs to lead regional collaboration on human rights issues in emerging technologies. They called for efforts to build an equitable and inclusive global science and technology framework that advances the fulfillment of human rights.

The forum also included three parallel sessions on emerging human rights issues in Asia, technology for good and other topics.

This year's forum builds on the inaugural Asian Forum on Human Rights held at Renmin University of China in 2022. The first forum centered on the theme of "Environment & Climate Change and Human Rights," underscoring the vital link between environmental challenges and human rights.

Editor's note: Kunqu opera is one of the oldest and most refined forms of traditional Chinese opera. Renowned for its graceful movements, poetic lyrics and elegant melodies, Kunqu has had a profound influence on many regional opera styles in China, including the more widely known Peking opera. 

In 2008, Kunqu opera was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. This recognition reflects Kunqu's enduring cultural significance and its role in preserving the artistic and literary traditions of classical Chinese theatre.

Kunqu opera originated in Kunshan, Jiangsu province during the Ming dynasty in the 14th century. It reached its artistic peak between the 16th to 18th centuries under the Ming and Qing dynasties, when it flourished in imperial courts and among the educated elite. The opera is closely associated with the poetic language of classical Chinese literature and features elaborate choreography, refined singing techniques and highly stylized acting.

The name "Kunqu" refers to the style of music and vocal performance developed from the Kunshan tune. This distinctive music, combined with intricate hand gestures, symbolic movements and richly embroidered costumes, gives Kunqu its elegant and expressive aesthetic.

Kunqu opera is particularly notable for its close relationship with Chinese classical literature. Many of its scripts are based on famous literary works, such as "The Peony Pavilion" by Tang Xianzu and "The Palace of Eternal Life" by Hong Sheng. These operas often explore themes of love, loyalty, moral conflict and the tension between personal desire and social role.

Despite its historical prominence, Kunqu opera faced serious decline in the 20th century. However, significant revival efforts have taken place in recent decades. Following UNESCO's recognition, the Chinese government and cultural institutions began to invest in the protection and revitalization of Kunqu. Key performance troupes, such as the Suzhou Kunqu Opera Theatre and the Northern Kunqu Opera Theatre, have played important roles in training young actors, restoring classical repertoires and promoting the art form both domestically and internationally.

Kunqu is now taught at several arts academies, and contemporary performances often incorporate modern stagecraft to appeal to younger audiences. In addition to traditional performances, abbreviated versions of Kunqu scenes are regularly featured in educational programs and cultural festivals. While the number of Kunqu performers remains limited compared to more commercial opera forms, its influence as a cultural treasure has been growing steadily.

UNESCO recognized Kunqu opera as a masterpiece for its exceptional aesthetic achievement and its embodiment of classical Chinese values. The organization praised Kunqu's literary richness, subtle performance techniques and its contribution to the continuity of traditional Chinese opera. Kunqu was also acknowledged for its comprehensive integration of music, dance, poetry and drama — making it a living archive of Chinese cultural heritage.

In its recognition comments, UNESCO emphasized the importance of preserving the art form through education, performance and community involvement. The designation aimed to encourage not only preservation efforts by the Chinese government and opera institutions but also public awareness and appreciation of this delicate and profound cultural expression. Through international recognition and local commitment, Kunqu continues to inspire new generations and remain a vibrant part of China's intangible heritage.

Discover more treasures from China on UNESCO's ICH list:

• 2024: Spring Festival

• 2022: Traditional tea processing

• 2020: Wangchuan ceremony, taijiquan

• 2018: Lum medicinal bathing of Sowa Rigpa

• 2016: Twenty-four solar terms

• 2013: Abacus-based Zhusuan

• 2012: Training plan for Fujian puppetry performers

• 2011: Shadow puppetry, Yimakan storytelling

• 2010: Peking opera, acupuncture and moxibustion, wooden movable-type printing, watertight-bulkhead technology of Chinese junks, Meshrep

• 2009: Yueju opera, Xi'an wind and percussion ensemble, traditional handicrafts of making Xuan paper, traditional firing techniques of Longquan celadon, Tibetan opera, sericulture and silk craftsmanship, Regong arts, Nanyin, Khoomei, Mazu belief and customs, Dragon Boat Festival, Manas, Craftsmanship of Nanjing Yunjin brocade, Xinjiang Uygur Muqam art, Hua'er, China engraved block printing technique, Chinese traditional architectural craftsmanship for timber-framed structures, Chinese paper-cut, Chinese calligraphy

More than 20 Chinese and Malaysian think tank experts and scholars gathered in the Malaysian capital on April 17 for the "Envisioning the Future: Kuala Lumpur Dialogue," focusing on new opportunities for economic cooperation between the two nations.

Yu Yunquan, vice president of China International Communications Group and president of the Academy of Contemporary China and World Studies, speaks at the "Envisioning the Future: Kuala Lumpur Dialogue" held in Kuala Lumpur, Malaysia, April 17, 2025. [Photo courtesy of ACCWS]

The event was co-organized by the Academy of Contemporary China and World Studies (ACCWS) and the Institute of Strategic Analysis and Policy Research, with support from the Fusion Institute, Malaysia-China Welfare Advisory Society and Bait Al-Amanah. About 200 participants from government agencies, think tanks, universities and businesses from both countries attended.

Yu Yunquan, vice president of China International Communications Group (CICG) and president of the ACCWS, said in his opening speech that think tanks, as thought leaders, public opinion shapers and exchange facilitators, can strengthen China-Malaysia and China-ASEAN cooperation by researching practical approaches for development strategy alignment, guiding mutual public understanding between the two countries, and building multilateral dialogue platforms.

"CICG is ready to work with its Malaysian partners to enhance information dissemination, knowledge sharing and youth exchanges, strengthening people-to-people bonds for building a China-Malaysia community with a shared future," Yu said.

Datuk Dr. Pamela Yong, chairwoman of the Institute of Strategic Analysis and Policy, speaks at the "Envisioning the Future: Kuala Lumpur Dialogue" held in Kuala Lumpur, Malaysia, April 17, 2025. [Photo courtesy of ACCWS]

Datuk Dr. Pamela Yong, chairwoman of the Institute of Strategic Analysis and Policy, said current protectionist trends and growing geopolitical competition among major powers highlight ASEAN's urgent need for strategic reassessment.

"Diversification serves as a shield against uncertainty, creating opportunities, stimulating growth and enhancing resilience," she said. "China remains a crucial partner for Malaysia and ASEAN in pursuing strategic diversification. Both sides should fully explore cooperation potential in the digital economy, green development and connectivity to achieve inclusive regional prosperity."

YB Datuk Seri Ir. Dr. Wee Ka Siong, Malaysian lawmaker, Malaysian Chinese Association president and former transport minister, said China-Malaysia relations show rare clarity and predictability amid global geopolitical fragmentation and rising protectionism.

"With the gradual alignment between the Belt and Road Initiative and Malaysia's national development plans, I have confidence that both nations will continue working together as key anchors for regional peace and progress," he said.

He also proposed establishing the "Envisioning the Future" dialogue as a permanent annual platform for think tank cooperation and exchanges between the two countries.

In his keynote speech, former Chinese Vice Finance Minister Zhu Guangyao said China and Malaysia are leveraging their digital and green economies as engines to jointly implement the strategic consensus between their leaders on building a community with a shared future, accelerating cooperation for a "new golden 50 years."

"China's deepening trade with Malaysia and ASEAN reflects the inclusive, equitable and shared development path of economic globalization, proving that protectionist backpedaling cannot reverse the historical trend of globalization," he said.

Zhu suggested advancing the China-ASEAN Free Trade Area 3.0 and regional financial safety net, while steadily enhancing the Chiang Mai Initiative's effectiveness in addressing potential liquidity shocks and maintaining regional economic growth momentum.

Hu Zhengyue, former assistant minister of foreign affairs of China, said in his keynote speech that China-Malaysia trade has grown nearly twentyfold over the past two decades, now accounting for one-fifth of total China-ASEAN trade.

"The achievements in China-Malaysia cooperation stem from four pillars, which are strong political relations as the foundation, robust people-to-people networks as the bridge, substantial market demand as the base, and regional collaboration as the driving force," he said. "With certain major powers' policies potentially causing severe global governance failures, China must coordinate responses with both ASEAN and Malaysia to maintain positive trade momentum, upgrade industrial cooperation, tap infrastructure and tourism potential, and better safeguard shared interests to expand our cooperation."

Participants listen to speeches during the "Envisioning the Future: Kuala Lumpur Dialogue" in Kuala Lumpur, Malaysia, April 17, 2025. [Photo courtesy of ACCWS]

Experts also participated in two plenary sessions and a roundtable discussion. The sessions focused on regional cooperation and economic revitalization to advance ASEAN's stability and prosperity, along with cultural integration and intellectual exchange through education and the arts. The roundtable discussion explored joint efforts toward peaceful development.

Chinese and Malaysian experts agreed that strengthened China-Malaysia coordination and deeper regional cooperation would help ASEAN address geopolitical challenges while advancing economic integration and sustainable development.

China and ASEAN can strengthen regional resilience and create mutual benefits by expanding their collaboration in digital technology, green economy and connectivity despite current global uncertainties, experts said.

They stressed enhancing cultural-educational ties through resource-sharing, youth exchanges, university research and arts cooperation to strengthen regional cultural affinity. Multi-faceted people-to-people exchanges are crucial for building trust and supporting a united, inclusive Asian community with a shared future, they noted.

Yu concluded the dialogue event by expressing hope that amid complex global changes, think tanks should uphold the principle of seeking common ground while shelving differences, finding consensus amid divergences and resolving disputes through shared understanding. He stated that China and Malaysia think tanks must deepen cooperation to inject certainty and new momentum into bilateral collaboration.

More than 100 filmmakers, actors and industry professionals braved heavy rain Friday afternoon to walk the red carpet at Yanqi Lake International Convention Center for the opening of the 15th Beijing International Film Festival (BJIFF).

Actor Yin Xiaotian, dressed as Charlie Chaplin, poses on the red carpet for the 15th Beijing International Film Festival (BJIFF) opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Departing from the typical red carpet protocol, several stars appeared in costumes as iconic film characters, including Charlie Chaplin, Bruce Lee and Zorro. Others recreated scenes from classics like "Roman Holiday," "Crouching Tiger, Hidden Dragon," "The Wandering Earth" and "In the Mood for Love" — paying tribute to two major milestones: the 120th anniversary of Chinese filmmaking and the 130th anniversary of cinema worldwide.

The festivities continued inside with an elaborate opening gala featuring performances celebrating film history.

Sun Junmin, head of the Publicity Department of the Communist Party of China Beijing Municipal Committee, paid tribute to world cinema and extended her best wishes for success to filmmakers from around the world.

A photo captures the 15th Beijing International Film Festival (BJIFF) opening gala in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

"The festival's 15-year journey of perseverance has grown into a bridge connecting Chinese and international filmmakers and a platform showcasing global cinematography," she said, adding she was confident in and looked forward to the continued growth of China's film industry.

Acclaimed Chinese director Jiang Wen appeared at the gala as the head of this year's jury for the festival's prestigious Tiantan Award competition. This year's jury panel includes Chinese American director and actor Joan Chen, British director David Yates, Chinese mainland actor Ni Ni, Finnish director Teemu Nikki, Swiss director and actor Vincent Perez, and Chinese art director Tim Yip from Hong Kong, China.

Jiang Wen remarked that a film can be interpreted in countless ways, emphasizing that "what you see in a movie depends entirely on who you are." Joan Chen shared her perspective on cinema more poetically: "Films bear the imprints of time – the movie camera like a black box preserving the passage of time: human existence, mortality, love, loss and fear."

The Tiantan Award jury appears on stage during the gala of the 15th Beijing International Film Festival (BJIFF) opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The jury will decide winners across 10 categories, including best feature film, best director and best screenplay. All awards will be presented at the festival's closing ceremony and gala on April 26.

The competition received a record 1,794 feature film submissions from 103 countries and regions. Fifteen films have been shortlisted for the final competition, including three Chinese entries: "Better Me, Better You," "Deep in the Mountains" and "Trapped."

Switzerland serves as the Country of Honor at this year's BJIFF. The Swiss film "Frieda's Case" is competing for the Tiantan Award, with a special Swiss Film Week featuring screenings of select Swiss films across Beijing theaters and filmmaker Q&A sessions.

At the gala, Swiss Ambassador to China Jürg Burri said: "We're honored to present the captivating panorama of Swiss cinema to Beijing this spring." He highlighted the timing — coinciding with 75 years of Sino-Swiss ties and their bilateral China-Switzerland Year of Culture and Tourism — as particularly meaningful. He extended warm wishes for cinematic collaboration and expressed hope for strengthened cultural exchange through film.

The Swiss film delegation poses on the red carpet for the 15th Beijing International Film Festival (BJIFF) opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

There were several performances — from moving songs and dances to film montages and robotic stage performers — honoring Chinese animated features like "Ne Zha 2" and classic films from China's 120-year cinematic history.

As world cinema marks its 130th anniversary, Janet Yang, president of the Academy of Motion Picture Arts and Sciences and its first Chinese American president, delivered an impassioned keynote speech. She traced film's evolution from the Lumière brothers' "The Arrival of a Train" to today's digital technology and diverse storytelling approaches, likening 130 years of cinema to an unstoppable train.

Janet Yang, president of the Academy of Motion Picture Arts and Sciences of the United States, speaks at the 15th Beijing International Film Festival (BJIFF) opening gala in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Yang described how the artistic films of China's "Fifth Generation" directors first attracted her interest in Chinese cinema. She also explained how working on international film projects showed her that movies can overcome language and cultural barriers. "Cinema," she said, "is the language that best connects the world."

During the gala, actors and filmmakers representing upcoming movies "The Dumpling Queen," "A Gilded Game," and "The One" took the stage to introduce their projects. The ceremony also featured the launch of the "China Film Consumption Year," a major new initiative.

The program, backed by the China Film Administration and China Media Group, aims to integrate cinema with everyday consumer activities across culture, tourism and commerce, according to officials. The initiative seeks to connect films with daily experiences, from dining to travel, while boosting consumer engagement.

The initiative's first major event, the Beijing Film Life Festival, runs alongside the film festival and features city-wide celebrations across multiple venues. The centerpiece is a film bazaar at Langyuan Station, BJIFF's main venue, offering over 150 cultural brands, 70 food vendors and themed interactive zones that combine cinema with lifestyle experiences.

"China Film Consumption Year" is launched during the 15th Beijing International Film Festival (BJIFF) opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The festival runs until April 27 and will feature diverse events, including a film carnival, pitch sessions for emerging filmmakers and cross-industry collaborations. The screening program includes 18 thematic sections showcasing nearly 300 domestic and international films — ranging from nostalgic classics to rare or previously unreleased works in China — with approximately 900 showings at 33 premium venues.

Additional highlights include cutting-edge technology showcases, dedicated programs for short films and sports films, works by female directors and young filmmakers, creative markets, an AI film competition and a university student film festival.

Actor Huang Kaijie dressed as Bruce Lee performs a fight sequence on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Actors recreate a scene from "The Wandering Earth" on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Animated character Stitch appears on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The cast members of "Trapped" pose for a photo on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The cast and crew of "Dongji Island" pose for a photo on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The cast and crew of "The Dumpling Queen" pose for a photo on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

The cast and crew of "A Gilded Game" pose for a photo on the red carpet at the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Children dressed as cartoon characters stage a performance at the 15th Beijing International Film Festival opening ceremony gala in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

A child performer dressed as dragon prince Ao Bing from "Ne Zha 2" shakes hands with a robot performer costumed as a Calabash Brother during the gala of the 15th Beijing International Film Festival opening ceremony in Beijing, April 18, 2025. [Photo courtesy of BJIFF Organizing Committee]

Experts emphasized the importance of cultural exchange and education in strengthening China-Malaysia ties during the 2025 Kuala Lumpur Dialogue held Thursday in the Malaysian capital Kuala Lumpur.

A panel discussion is held during the 2025 Kuala Lumpur Dialogue in Kuala Lumpur, Malaysia, April 17, 2025. [Photo courtesy of ACCWS]

The forum highlighted historical and cultural connections between the two countries and outlined plans to enhance collaboration in education, technology and media.

Wang Xiaohui, editor-in-chief of China.org.cn and a special research fellow at the Academy of Contemporary China and World Studies (ACCWS), observed that current conditions present a prime opportunity to enhance bilateral cultural exchange and economic cooperation. Noting the two nations' thousand-year historical connections and the longstanding Mandarin language presence in Malaysia, he acknowledged persistent gaps in mutual understanding that require dedicated efforts to address.

"Last year marked 50 years of Malaysia-China cooperation," Wang said. "As Confucius said, 'At 50, one knows the mandate of heaven.' Our task now is to strengthen high-level strategic development — enhancing cultural diplomacy, expanding trade and economic participation and addressing challenges like U.S. tariffs. Through deeper cultural exchange and mutual understanding, we can build prosperity for both nations."

He also referenced Chinese Admiral Zheng He's historic voyage to "Nanyang," a historical Chinese term for Southeast Asia used during the Ming dynasty (1368-1644). The admiral's fleet visited Malacca (Malaysia), Java (Indonesia) and Siam (Thailand), facilitating cultural exchange by introducing foreign cultures to China while sharing Chinese culture abroad. He noted that language barriers remain the "last mile" of cultural exchange, and that translation is the cornerstone of understanding and connection.

Wang mentioned that China International Communications Group publishes Chinese cultural content in multiple languages, while China.org.cn delivers stories in 10 languages to promote global understanding. 

"With modern tools like DeepSeek and other digital platforms, there are now unprecedented opportunities to enhance media, broadcasting and cultural exchange efforts for Malaysia and China," he said.

Xiong Chengyu, professor at the Communication University of China and dean of the School of Cultural Development and Communications, also noted that Malaysia and China have a long and rich history of cultural exchanges. Now, the two countries are jointly applying to UNESCO to recognize and protect their shared cultural assets. Additionally, China and Malaysia have made commitments to cooperation in education. These steps represent a move toward a more integrated future.

"People-to-people connections form the bedrock of meaningful cultural exchange," Xiong said. "At its core, this work is about touching hearts. We must prioritize grassroots, lived experiences — even the most fundamental human interactions, like smiling at each other, create the foundation for true understanding."

Onn Huann Jan, professor at the Department of Chinese Language and Literature of New Era University College, noted that Eastern civilization is characterized by Islam and Confucianism, concepts that intertwine in various philosophical and cultural ways. He cited Zheng He's voyages, where the admiral built memorials utilizing Islamic elements, highlighting the cultural intersection and commonalities between Confucianism and Islam.

In terms of cultural exchange, Onn emphasized the role of translation, adding that academic translations between Chinese, Malaysian and English are crucial. Meanwhile, translating Malay documents into Chinese allows more people to understand the Malay world, helping address today's problems and find solutions, he said.

"Cultural exchanges come in many forms, including art and food," Onn explained. "In Malaysia, the mainstream culture serves as a bridge between us and China, fostering trust and understanding between the two countries. Misunderstandings and miscommunications, often rooted in colonization, can lead to negative perceptions. By promoting accurate translations and cultural understanding, we can build a stronger foundation for cooperation and mutual respect."

Chin Chong Foh, deputy dean and associate professor at the Institute of Chinese Studies of Universiti Tunku Abdul Rahman, raised the importance of people-to-people bonds in cultural exchange.

"Malaysia and China's relationship dates back over 1,000 years, highlighting the harmonious bond between the two countries. The vision is for harmony, security and prosperity," Chin said. "As a fourth-generation Malaysian Chinese, I advocate for more free interaction between the two countries to avoid extremism and promote bicultural understanding."

Wang Dong, professor and executive director of the Institute for Global Cooperation and Development at Peking University, echoed that people-to-people exchanges promote regional peace and harmony, which is crucial. Realizing heart-to-heart connectivity enhances cultural understanding and respectful communication, as reflected in China-Malaysia development and prosperity in education and cooperation, he said.

"There have been many translations of classic literature in recent years. Our media products, including movies, have received top ratings in Malaysia and Singapore, helping to boost exchanges and enhance mutual understanding," Wang noted.

The "Boundless ∞ Immersive Section," launched Thursday at the 15th Beijing International Film Festival (BJIFF), showcases how virtual reality (VR) and emerging technologies are transforming filmmaking.

Officials and organizers launch the virtual reality film section of the 15th Beijing International Film Festival in Beijing, April 17, 2025. [Photo courtesy of BJIFF]

The showcase features 47 works spanning VR, augmented reality and other immersive formats, including "21-22 USA" and "21-22 China" by Thierry Loa, "Tearless: When Ghosts Speak History" by Gina Kim, and "Impulse: Playing with Reality" by May Abdalla and Barry Gene Murphy.

Chinese actor Huang Bo, serving as guest curator, said the exhibition is divided into two parts: "Boundless Cinema" for international VR works and "Immersive Space: Unbounded Imagery" featuring projects from established artists and emerging academic talent. 

"I welcome everyone to experience this immersive theater over the next week," Huang told attendees, calling it "a gateway to different cinematic dimensions."

Cui Yan, director of the Beijing International Film Festival Operations Center at Beijing Radio & Television Station, said the event "has consistently focused on cinema's cutting-edge developments."

"We believe the more than 40 technologically and artistically innovative entries will profoundly expand audiences' understanding of future visual storytelling," Cui added.

The China Film Archive first introduced VR exhibitions at the festival in 2018, which evolved into an extended reality showcase by 2023 before expanding into this year's "Boundless ∞ Immersive Section."

China Film Archive Director Sun Xianghui said VR films' inclusion in China's official film classification system marks a new phase for the medium in the country.

"The section will continue serving as a vital platform for China's VR films," she said. "We encourage progress through technological exchange, mutual learning among civilizations and artistic dialogue – expanding cinema's sensory dimensions and delivering more immersive experiences to audiences."

Thursday's events included an opening ceremony, industry forum and academic symposium focused on policy guidance, cross-sector collaboration and future trends. Experts view VR film development as China's next frontier in cinematic innovation.

Actor Huang Bo (C) with virtual reality filmmakers whose works will be showcased at the 15th Beijing International Film Festival in Beijing, April 17, 2025. [Photo courtesy of BJIFF]

Huang Zhi, head of the Technology Department at the Film Bureau of the Publicity Department of the Communist Party of China Central Committee, stated that the China Film Administration has issued guidelines to promote the orderly development of VR films, showcasing strong government support for this tech and culture integration.

The administration will strengthen foundations, set technical standards and provide multi-level policy support to ensure healthy growth in the sector, Huang noted.

"But regardless of technological advancements," Huang emphasized, "films must adhere to a people-centered creative approach. VR films must align with public expectations – only by consistently producing high-quality works that resonate with audiences can new formats achieve sustainable success."

Entrepreneurs, executives, industry insiders, and academics at the forum discussed commercialization models for VR films, with participants agreeing that VR development is essential for advancing China's film industry.

In addition, several VR film projects, including "The Three-Body Game: Fragments of Civilization," were announced. Major cinema chains across China also pledged to support VR cinema development and provide screening facilities for VR projects.

The "Boundless ∞ Immersive Section" runs until April 27 and will include a technology summit in addition to the VR screenings.

The 15th Beijing International Film Festival (BJIFF) will kick off Friday with a grand ceremony at the Yanqi Lake International Convention Center, bringing together film professionals from China and around the world for a dazzling celebration of cinema.

Film stars from China and around the world will gather for the event, including Chinese director and actor Jiang Wen, serving as jury president for the 15th BJIFF competition section, alongside fellow jurors including Chinese-speaking director-actress Joan Chen, British director David Yates, Chinese actress Ni Ni, Finnish director Teemu Nikki, Swiss director and actor Vincent Perez, and Timmy Yip, an art director from Hong Kong, China.

Multiple Chinese film crews from this year's Tiantan Award main competition lineup, along with production teams of highly anticipated new releases, will grace the red carpet ceremony. The opening event will feature a special tribute segment with appearances by acclaimed performers, while renowned musicians and entertainers are set to deliver captivating live performances.

The red carpet ceremony will be broadcast online at 3:35 p.m. and on television at 9:30 p.m. Friday. The opening ceremony follows at 7:35 p.m., airing simultaneously across both digital and traditional platforms. Major outlets including People's Daily App and Beijing Daily App will carry live coverage.

Marking 130 years of world cinema and 120 years of Chinese cinema, this year's festival will showcase a rich lineup of over 300 films screening across 34 venues throughout the Beijing-Tianjin-Hebei region. The selection spans global masterpieces, classics, and bold new voices in Chinese cinema.

Audiences from across China have shown enthusiasm, with tickets purchased by film lovers from cities including Beijing, Shanghai, Hangzhou, Guangzhou, and Shenzhen.

The Beijing Film Life Festival will also be launched on the sidelines, blending cinema with lifestyle through food, tourism, and cultural markets. A highlight is the film bazaar at BJIFF's main venue Langyuan Station, featuring over 150 cultural creative and art brands, 70 catering brands, and immersive movie-themed zones.

As the festival runs until April 27, Beijing continues to shine as a global hub for cinematic exchange, bridging cultures through the universal language of film.

China's industrial sector maintained steady growth in the first quarter of this year, supported by ongoing efforts to upgrade its industrial structure. Industrial output rose by 6.5% year on year from January to March, according to official data released Friday.

The HICOOL 2025 Global Entrepreneurship Competition has hit a new milestone, attracting 10,055 startup projects and 13,150 participants from 139 countries and regions - a 36% increase from last year in both projects and participants.

This year's competition has expanded from seven to 12 tracks, with high-tech sectors like integrated circuits, quantum information, and 5G/6G elevated to top-level categories. Notably, entries in the integrated circuits track more than doubled, up 107% year on year.

International participation continues to grow, with 5,588 projects, or 56% of the total, submitted from overseas. A total of 3,886 foreign participants registered, many of whom graduated from top universities around the world such as MIT, Cambridge, Oxford, Harvard, Peking University, and Tsinghua University.

The competition kicks off in May and June, with preliminary rounds held in Beijing, Hong Kong, and Singapore. Over the coming months, startups will compete through multiple rounds, with 200 winners ultimately selected across various award categories.

Since its launch in 2020, HICOOL has become a platform for discovering and supporting global entrepreneurial talent. To date, it has helped incubate 16 unicorns as well as 157 specialized and sophisticated enterprises that produce new and unique products, and supported 154 winning projects in raising over 44.6 billion yuan (US$6.11 billion) in follow-up funding.

The Beijing Digital Economy Computing Center, located in Jiuxianqiao, Chaoyang district, has recently begun operation.

Housed in a five-story building, the center boasts a computing power that can handle 1 quintillion operations per second. 

According to a technician, the facility has deployed over 1,000 petaflops of high-performance hybrid computing power, integrating full-stack AI capabilities across computing, algorithms, data, and AI tools.  

Despite its scale, the center is operated by only 21 staff members, enabled by smart management through an intelligent operations platform and a digital twin system. 

More than a hub for computing power, the center serves as an AI-driven platform to empower a wide range of industries, according to an official from Chaoyang district's data bureau. 

It integrates computing infrastructure, a trusted data space, an AI computing exhibition zone, and an innovation and collaboration hub to support diverse use cases, from large model training and inference to scientific research.

Chaoyang district has established an audiovisual industry innovation center to accelerate the incubation of competitive AI-generated content. 

Meanwhile, Beijing Electronic Digital & Intelligence, an AI technology firm, has partnered with China-Japan Friendship Hospital to leverage the center's full-stack AI capabilities to provide doctors with enhanced tools for diagnosis and decision-making.

In the first quarter this year, the added value of computer, telecom, and other electronic equipment manufacturing enterprises above the designated size in China rose 11.5% year on year, 5 percentage points higher than the overall industrial sector, the Ministry of Industry and Information Technology said at a press conference Friday.

The final installment of China's "The Wandering Earth" science fiction trilogy began filming on April 15, featuring the surprise addition of comedy star Shen Teng and the first use of an AI production assistant.

Director Frant Gwo (1st L) and actors Shen Teng (C) and Wu Jing attend a ceremony to mark the start of filming for "The Wandering Earth 3" at China Movie Metropolis in Qingdao, Shandong province, April 15, 2025. [Photo courtesy of Da'an Pictures]

The cast and crew attended a ceremony to mark the start of filming at China Movie Metropolis, a studio complex in Qingdao, Shandong province, which also hosted production of the previous two entries.

Producer Fu Ruoqing, chairman of China Film Group, director Frant Gwo, and lead actor Wu Jing attended the ceremony, where they announced the surprise casting of comedian Shen Teng.

Shen brought his signature humor to the launch, saying he was honored to join the team. "I'll do my best in this role and make sure director Frant Gwo gets enough rest, while ensuring I get enough rest myself," he joked.

Wu shared his excitement about working with Shen: "I'm so hyped to have fun with Shen Teng on the 'Wandering Earth' ride. Maybe we can have a switch. Hope I get more comedy scenes while he does more action — can't wait to see him throw a punch!"

Shen and Wu are two of the biggest stars in Chinese cinema. Films starring Shen have grossed a total of 36.98 billion yuan ($5 billion) at the box office, making him the highest-grossing actor in China. Wu ranks a close second, with his films earning 34.71 billion yuan. The long-awaited collaboration between the two actors will take place in this project.

The cast and crew celebrate the launch of filming for "The Wandering Earth 3" at China Movie Metropolis in Qingdao, Shandong province, April 15, 2025. [Photo courtesy of Da'an Pictures]

At the launch of "The Wandering Earth 3," the production team unveiled WEi, a proprietary AI assistant powered by DeepSeek R1 and supported by NVIDIA and ByteDance's Volcano Engine.

The tool, which is designed to emulate the franchise's AI character MOSS, provides instant access to scripts, concept art and professional references. The production team said the tool integrates AI with film production to help advance China's sci-fi industry and explore new creative possibilities.

The production will also partner with leading Chinese technology firms to leverage advanced support, aiming to set a new benchmark in set construction and visual effects.

Producer Fu expressed gratitude to the director and core creative team for overcoming challenges over the past decade since the first film. He pledged to continue supporting the team as they pursue the sci-fi vision of the "Wandering Earth" franchise and work to ensure its continued growth and legacy.

Another franchise star, Hong Kong actor Andy Lau, sent a congratulatory video for the production launch, saying, "I can't wait to rejoin the cast and begin filming."

Screenwriting adviser Wang Hongwei said the script for "The Wandering Earth 3" was 80% complete.

"When working on a groundbreaking franchise like this, we all feel reluctant to put down our pens," Wang said, adding that the team aims to create the most satisfying conclusion possible for the final installment.

The film is written by Gwo, Gong Ge'er and Ye Ruchang. Gwo previously said the script underwent nine revisions by the end of last year, with the team surveying over 1,000 young people to better engage younger audiences. The story will serve as a direct sequel to the first film, exploring humanity's struggle for survival during Earth's 2,500-year cosmic odyssey to a new solar system.

The cast and crew pose for a group photo before filming begins on "The Wandering Earth 3" at China Movie Metropolis in Qingdao, Shandong province, April 15, 2025. [Photo courtesy of Da'an Pictures]

"Innovation must be everything — we have to find ways to make it happen," Gwo said. "We want to give audiences something they've never seen in any film before. We're raising production standards far above the first two movies to move and amaze every audience member who's been supporting us."

The "Wandering Earth" franchise has maintained its strong audience appeal with consistent box office success. The original 2019 film earned 4.69 billion yuan domestically, while the 2023 prequel grossed 4.03 billion yuan. The series' final installment, "The Wandering Earth 3," will be released in two parts, with the first part scheduled to premiere in China during the 2027 Spring Festival season.

The 15th Beijing International Film Festival is set to feature a special screening program commemorating the 80th anniversary of the victory of the World Anti-Fascist War.

(Clockwise from top left) Stills from "The Zone of Interest," "The Thin Red Line," "Above the Drowning Sea," "The Burmese Harp," "Downfall," and "Shoah," which will be presented during the 15th Beijing International Film Festival. [Images courtesy of the BJIFF Organizing Committee]

The screenings are part of this year's Beijing Film Panorama, an annual program that showcases nostalgic classics, new releases and films not previously screened in China. The event is popular with both fans and industry professionals.

The first ticket sold during Monday's presale was for Jonathan Glazer's "The Zone of Interest" (2023), which won the Academy Award for best international feature at the 2024 Oscars. The film explores themes of complicity through its depiction of a Nazi officer's family living next to the Auschwitz concentration camp.

The film is part of the special "Cinema and Peace" program at the festival. "As we mark the 80th anniversary of the victory in the World Anti-Fascist War, we are launching this themed program. Spanning generations, these films ring the bell of world peace through cinema," said Lin Siwei, deputy head of the China Film Archive, deputy director of the China Film Art Research Center, and deputy secretary-general of the BJIFF Organizing Committee.

Twelve films will be screened, including several rarely seen in China that have been newly restored in 4K. Among them is Leopold Lindtberg's "The Last Chance" (1945), which won both the international peace award and best feature film at the 1946 Cannes Film Festival. The film follows an American and a British soldier who escape from a Nazi train in wartime Italy and lead a group of refugees to Switzerland. The Swiss Embassy in China provided copyright and archival support for the screening.

Claude Lanzmann's "Shoah" (1985), the landmark 9.5-hour Holocaust documentary, is featured in the program and will screen alongside the Asian premiere of Guillaume Ribot's 2025 documentary "All I Had Was Nothingness," which examines Lanzmann's commitment to creating "Shoah."

Other notable films in the lineup include Terrence Malick's Golden Bear-winning "The Thin Red Line" (1998), adapted from James Jones' novel about the World War II Guadalcanal campaign; Oliver Hirschbiegel's "Downfall" (2004), which chronicles Hitler's final days through the perspective of his secretary Traudl Junge; Kon Ichikawa's "The Burmese Harp" (1956), about a Japanese soldier who becomes a Buddhist monk after the war; and Larisa Shepitko's "Wings" (1966), a portrait of a Soviet World War II pilot.

The selection also features Sam Peckinpah's "Cross of Iron" (1977), Kazuo Hara's documentary "The Emperor's Naked Army Marches On" (1987), and Luuk Bouwman's 2024 documentary "The Propagandist."

The program includes "Above the Drowning Sea" (2017), a documentary by Rene Balcer and Nicola Zavaglia about Jewish refugees who found sanctuary in Shanghai during World War II. The film highlights the role of Chinese diplomat Ho Feng Shan, who defied the Nazis and his own government to provide visas to refugees. Told from the perspectives of both the refugees and the Chinese people who sheltered them, the documentary offers a reflection on solidarity in times of crisis.

The Beijing International Film Festival will run from April 18 to 26, featuring a range of activities, including forums, masterclasses, film pitching sessions and the Tiantan Award.

This year's Beijing Film Panorama will present 18 thematic sections, showcasing nearly 300 international films across about 900 screenings at 33 venues in the Beijing-Tianjin-Hebei region. Venues include commercial theaters, arthouse cinemas and various cultural spaces.

Other main screening segments include a centennial tribute to director Robert Altman, along with films by Jiri Menzel, Andrei Tarkovsky and the late David Lynch.

Editor's note: Chinese calligraphy is the artistic practice of writing Chinese characters using a brush and ink. Celebrated for its aesthetic beauty and cultural depth, Chinese calligraphy is not merely a means of communication but a highly respected art form that expresses the writer's emotions, character and moral integrity. In 2009, Chinese calligraphy was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, recognized as a treasured embodiment of traditional Chinese culture and philosophy.

This art has been practiced for over two thousand years and is closely connected to Chinese language, literature, education and philosophy. It also plays a central role in visual arts and remains a powerful symbol of cultural identity.

The origins of Chinese calligraphy can be traced back to ancient times, with the earliest recognizable characters appearing on oracle bones from the Shang dynasty (1600–1046 BC). These early forms evolved over centuries through various script styles, such as Seal Script, Clerical Script, Regular Script, Running Script and Cursive Script — each with unique aesthetic and structural qualities.

During the Han dynasty (206 BC–220 AD), calligraphy began to be appreciated as an independent art form. It reached a high level of sophistication in the Tang (618–907) and Song (960–1279) dynasties, when masters like Wang Xizhi, Yan Zhenqing and Su Shi emerged. These calligraphers developed personal styles that reflected their inner thoughts and life philosophies, elevating calligraphy to a form of spiritual cultivation.

In traditional Chinese society, mastery of calligraphy was an essential part of education and self-cultivation, especially for scholars and officials. It was also used in religious contexts, such as transcribing Buddhist sutras and Daoist texts.

Despite the advent of digital technology and modern communication tools, Chinese calligraphy continues to be widely practiced and respected in contemporary China and across Chinese-speaking communities worldwide. It remains a core subject in traditional Chinese arts education and is often taught in schools, art academies and community centers.

Calligraphy is also embraced as a form of meditation and self-discipline. Many people of all ages study calligraphy to improve focus, develop patience and connect with traditional culture. Calligraphy clubs, workshops, exhibitions and competitions are regularly held to promote engagement and appreciation of this art.

In recent years, calligraphy has found new vitality through cross-disciplinary collaboration. Artists integrate calligraphy into modern design, digital art and public installations, introducing it to broader and younger audiences. At the same time, efforts are being made to preserve the authenticity of traditional styles and techniques, as many worry about the dilution of the art form.

When UNESCO added Chinese calligraphy to its Representative List of the Intangible Cultural Heritage of Humanity in 2009, it praised the tradition as "an artistic practice that reflects the unique character, spirit, temperament, interest, and way of thinking of the Chinese people." The evaluation highlighted that calligraphy is more than an artistic discipline — it is a means of cultivating the self, conveying personal expression, and strengthening social and cultural cohesion.

UNESCO emphasized the strong intergenerational transmission of this heritage, often passed down through families, master-apprentice relationships and formal education. It recognized the vital role that calligraphy plays in identity formation and in promoting mutual understanding within Chinese communities and beyond.

The inscription also acknowledged ongoing government and community-led efforts to preserve and promote calligraphy, including academic research, teacher training, public outreach programs and international cultural exchange.

By placing Chinese calligraphy on the global stage, UNESCO affirmed its significance as a universal form of human creativity and a living tradition that continues to evolve while honoring its ancient roots.

Discover more treasures from China on UNESCO's ICH list:

• 2024: Spring Festival

• 2022: Traditional tea processing

• 2020: Wangchuan ceremony, taijiquan

• 2018: Lum medicinal bathing of Sowa Rigpa

• 2016: Twenty-four solar terms

• 2013: Abacus-based Zhusuan

• 2012: Training plan for Fujian puppetry performers

• 2011: Shadow puppetry, Yimakan storytelling

• 2010: Peking opera, acupuncture and moxibustion, wooden movable-type printing, watertight-bulkhead technology of Chinese junks, Meshrep

• 2009: Yueju opera, Xi'an wind and percussion ensemble, traditional handicrafts of making Xuan paper, traditional firing techniques of Longquan celadon, Tibetan opera, sericulture and silk craftsmanship, Regong arts, Nanyin, Khoomei, Mazu belief and customs, Dragon Boat Festival, Manas, Craftsmanship of Nanjing Yunjin brocade, Xinjiang Uygur Muqam art, Hua'er, China engraved block printing technique, Chinese traditional architectural craftsmanship for timber-framed structures, Chinese paper-cut

A film, music and food carnival will take place by Yanqi Lake in Beijing’s Huairou district from April 18 to 26 as part of the 15th Beijing International Film Festival.

The event is designed to bring together film, music and food, offering residents and tourists in Huairou a rich cultural experience.

The main stage will feature two music festivals, three themed concerts, an esports event and a puppet show, allowing visitors to enjoy film and music in the spring weather.

The carnival will also feature a movie-themed food exhibition, where Beijing restaurants will recreate classic film scenes in their dining areas.

The food area will feature more than 100 specialty vendors, offering a diverse selection of dishes from tents and food trucks. Attendees can sample a wide range of Chinese and Western cuisines, trendy snacks and local flavors.

The event site covers 35,000 square meters and can accommodate up to 10,000 people. Organizers have arranged transportation routes and will provide free shuttle buses to help manage crowds and ensure smooth operations.

Beijing is significantly accelerating the approval process for innovative drugs, with pilot projects cutting review times for clinical trials to as few as 18 working days, according to the Beijing Municipal Medical Products Administration. 

Before an innovative drug can be marketed, it must undergo clinical trials to assess its safety and effectiveness. Improving the speed and quality of these trials can help deliver new treatments to patients more quickly.

The National Medical Products Administration released a pilot plan in July 2024 to optimize the review and approval of clinical trials for innovative drugs. Beijing was selected as a pilot region on Aug. 2.

On April 7, Beijing introduced new measures to promote high-quality development in innovative medicine, including efforts to deepen the pilot program for reviewing and approving clinical trials. The initiative aims to cut approval times from 60 working days to 30 and to expand the range of drugs and medical devices covered under the program.

According to the Beijing Municipal Medical Products Administration, 10 trial projects have been included so far. Eight of these have already received clinical trial approval, with an average review time of 23.8 working days and the fastest approval in just 18 working days. This represents an acceleration of up to 70%. The average time from approval to the start of the trial was 6.2 weeks, with the quickest being three weeks, marking a significant increase in efficiency.

The first China-Europe freight train of the year departed from Beijing's Fangshan district on Wednesday, bound for Moscow with more than 4.9 million yuan ($675,000) worth of export goods, including home appliances, tires and waterproofing materials. The journey is expected to take about 16 days.

The train left from the Liulihe business outlet at the Beijing Railway Logistics Center. At around 9 a.m., an orange HXN3B diesel locomotive was coupled to 45 container flatcars, carrying a total of 90 standard containers.

According to Liu Shouzhi, manager of the Logistics Dispatch Department at Beijing Railway Logistics Center, the train will exit China via the Manzhouli railway port in north China's Inner Mongolia autonomous region. 

The cargo weighs more than 450 tons and will be distributed to various destinations along its 9,000-kilometer route, including Novosibirsk and Ulyanovsk region in Russia.

Officials said the launch of this year's first Beijing-Moscow China-Europe freight train is expected to broaden economic and trade ties between Beijing and Eurasian countries. The service will also contribute to local economic growth by making it easier for businesses in the region to participate in international trade.

Editor's note: Chinese President Xi Jinping on Thursday arrived in Phnom Penh for a state visit to Cambodia, looking to further spearhead progress in building a China-Cambodia community with a shared future. Here, China.org.cn presents key takeaways of President Xi's remarks during the visit.

The second China International Supply Chain Expo is held at the Shunyi Hall of the China International Exhibition Center in Beijing, capital of China, Nov. 26, 2024. [Photo/Xinhua]

Punitive U.S. tariffs have sent shockwaves around the world, and it is increasingly clear that the preservation of global supply chains should take center stage. Here is why global supply chain stability is more critical than ever.

First, it is obvious that the unwarranted U.S. tariffs have thrown the global economic and trade order into limbo. Global supply chains – from food security to manufacturing and other associated sectors – put a premium on the free flow of raw materials and liberalized trading links between countries. 

Supply chains, in their truest sense, should be seen as a measure of international stability, and thus require a collective consensus on their protection. That is precisely the outcome that U.S. President Donald Trump's tariffs on scores of countries risk weakening. "No one person should have the power to impose taxes that have such vast global economic consequences," said Jeffrey Schwab, senior counsel at the Liberty Justice Center, in a recent statement. "The Constitution [of the United States] gives the power to set tax rates – including tariffs – to Congress, not the President."

Consider the impact on global supply chains. Despite the "reciprocal tariffs" being suspended for 90 days and replaced with a 10% global tariff, key equipment manufacturers have been forced to rethink their trusted supply chain networks, making trade diversion a pressing concern. Automotive supply chains are also a target as Trump imposes tariffs on steel and aluminum, prompting widespread retaliation reaching as far as Europe. The future outlook for stability thus remains bleak, given the multiplicity of tariffs imposed, the volatile nature of changes, high degree of market uncertainty, and difficulties among businesses in charting a collective response. 

It is true that the world has seen constraints on global supply chain stability before, but the sheer pace and scale of the recent U.S. tariffs merit particular concern. For instance, Vietnam – a fixture in the international athletic footwear supply chain – has suffered a huge tariff blow, offering a glimpse of tariff disruptions felt across the international fashion supply chain. The electric vehicle (EV) industry is also no exception. And there are fears that the ripple effects are likely to spread, highlighting the need to plug supply chain vulnerabilities at a time of rampant pressures.

For these reasons, it is difficult to understate the role of the 3rd China International Supply Chain Expo (CISCE). Spanning a wide range of sectors, including manufacturing, smart vehicles and green agriculture, it provides insight into the different fields that remain central to global supply chains. Its track record of supporting resilient global industrial and supply chains is a key advantage. Look no further than the second installment of the expo, which became a catalyst for bringing together scores of Fortune 500 companies and charting pathways for business matchmaking. Participation from dozens of companies, global organizations and country representatives also bolsters international support for supply chain cooperation. 

Therefore, the 3rd CISCE, under the theme of "Connecting the World for a Shared Future," is even more important for fostering dialogue and addressing record-setting volatility in global supply chains. What risks qualify as most critical to companies? And how can various stakeholders in industrial supply chains come together to foster resilience for the future? What will it take to achieve stability in the future? The 3rd CISCE offers a valuable opportunity to address these questions, and helps attendees understand international supply chain solutions backed by Chinese enterprises. "Through supply chains, we're connecting the world's businesses, products and services, building bridges for industrial integration, innovation and market access," said Ren Hongbin, chairman of the China Council for the Promotion of International Trade. "The platform has become an open driver of mutual growth and win-win cooperation between China and the world."

Years of international cooperation have shown that companies cannot afford to operate in silos. Those with a huge stake in procuring materials for critical industries need to join hands with their counterparts to understand common challenges. Coming to terms with these challenges is particularly important at a time of rampant supply chain disruption, and to help stakeholders strategize to protect shared supply chain interests. This is why connectivity – a fixture in the 3rd CISCE's theme – is such a central element of any lasting supply chain dialogue. Not only are firms able to take the pulse of multisector considerations spanning automotives, sophisticated manufacturing and pharmaceuticals, but they are also well positioned to increase market access to China, which plays a pivotal role in key supply chain spaces.

This includes the electronics industrial chain, which has seen a rapid expansion in Chinese expertise – from product design and production to implementation. The 3rd CISCE stands to generate new value for international firms by increasing their exposure to supply chain scalability and feasible business models. The expo also offers an opportunity for market integration and to bring together international businesses on a spectrum. Through a diverse range of pre- and post-exhibition engagement events, the CISCE can also create lasting connections between exhibitors and strengthen business ties in the process.

Interestingly, the CISCE is an important manifestation of China's belief in spearheading global supply chain resilience and collectively offsetting international pressures. Over 200 cooperation pacts and letters of intent were formalized during the event last year, demonstrating its impact and ability to spur collaboration. Anticipation this year is high, considering that downward pressures on supply chain stability have increased the need for meaningful and transformative cross-sector collaborations.

Ultimately, given the impact of tariffs on international supply chain stability and the need for further protections and future collaborations, the 3rd CISCE's role is critical. China – with its mission to consolidate international industry chains – speaks to the motivations and needs of scores of enterprises that wish to prioritize development and limit adverse risks.

Hannan Hussain is co-founder and senior expert at Initiate Futures, an Islamabad-based policy think tank.

Opinion articles reflect the views of their authors, not necessarily those of China.org.cn.

Editor's note: A freight train carrying 90 containers departed Beijing on Wednesday, marking the launch of this year's first Beijing-Moscow service on the China-Europe Railway Express route.

The train, which comprises 45 cars and carries about 450 metric tons of goods valued at more than 4.9 million yuan ($680,000), includes home appliances, tires and building materials among its cargo. It is scheduled to arrive in Moscow in 16 days after stopping at Novosibirsk, Ulyanovsk and other cities, covering a distance of 9,000 kilometers.

A freight train prepares to depart from a rail yard in Beijing on April 16, 2025, marking the first China-Europe train from the capital this year. [Photo by Chen Boyuan/China.org.cn]

A freight train prepares to depart from a rail yard in Beijing on April 16, 2025, marking the first China-Europe train from the capital this year. [Photo by Chen Boyuan/China.org.cn]

Workers load a container onto a freight train at a Beijing rail yard on April 16, 2025. The train, bound for Moscow, is the first Beijing-Moscow service this year on the China-Europe Railway Express route. [Photo by Chen Boyuan/China.org.cn]

An engineer inspects the connection between the locomotive and freight cars in Beijing on April 16, 2025, ahead of the year's first Beijing-Moscow train departure on the China-Europe Railway Express route. [Photo by Chen Boyuan/China.org.cn]

Two workers inspect containers aboard a freight train at a rail yard in Beijing on April 16, 2025. The train is set to depart for Moscow as the first Beijing-Moscow service this year on the China-Europe Railway Express route. [Photo by Chen Boyuan/China.org.cn]

A freight train, the first China-Europe service from Beijing in 2025, prepares to depart a rail yard in Beijing on April 16, 2025. A banner on one container reads: "Creating a new channel in international logistics and promoting the high-quality development of the Belt and Road Initiative." [Photo by Chen Boyuan/China.org.cn]

The first China-Europe train from Beijing in 2025 prepares to depart a rail yard in Beijing on April 16, 2025. [Photo by Chen Boyuan/China.org.cn]

The Think Asia Forum 2025 was held on April 15 in Singapore with a strong critique of U.S. trade policies and calls for greater Asian cooperation, as over 40 experts from across the region gathered to address global governance challenges.

Cao Zhongming, Chinese ambassador to Singapore, delivers the opening address for the Think Asia Forum 2025 in Singapore, April 15, 2025. [Photo courtesy of ACCWS]

Cao Zhongming, the Chinese ambassador to Singapore, delivered a pointed opening address, condemning the recent U.S. tariff war against the world. "The reckless abuse of tariffs has severely violated legitimate rights of nations, undermined the rules-based multilateral trading system and disrupted the global economic order," he told attendees. "Such unilateral and protectionist acts weaponize tariffs for selfish gains at the expense of global economic stability and Asian development."

Ambassador Cao positioned China as a defender of multilateralism, stating: "China will continue taking resolute measures to safeguard its sovereignty, security and development interests while opening its doors wider to the world." He urged Asian nations to unite against protectionism and economic bullying, and strengthen cooperation to safeguard the stability of the global economic order, emphasizing that "development is a universal right of all nations, not the privilege of a select few."

The forum was co-sponsored by China International Communications Group (CICG), Tsinghua University and Nanyang Technological University (NTU) Singapore. Organizers included the Academy of Contemporary China and World Studies (ACCWS), Tsinghua University's School of Journalism and Communication, the Center for International Security and Strategy, and the Institute for Global Industry, as well as NTU's Wee Kim Wee School of Communication and Information.

Think tank experts and scholars from China, Singapore, Japan, India and other Asian nations gave speeches and engaged in in-depth discussions in front of approximately 200 audience members. The opening remarks were moderated by Zhou Qing'an, dean of Tsinghua's School of Journalism and Communication, while the keynote speeches and special dialogue sessions were moderated by Wang Xiaohui, editor-in-chief of China.org.cn and special research fellow at ACCWS.

President of Tsinghua University Li Luming highlighted Asia's cultural ties as foundational for cooperation, stating, "Our civilizations provide enduring wisdom to address today's challenges."

Yu Yunquan, vice president of CICG and president of ACCWS, speaks at the Think Asia Forum 2025 in Singapore, April 15, 2025. [Photo courtesy of ACCWS]

Yu Yunquan, vice president of CICG and president of ACCWS, observed that Asia and the world face growing instabilities and uncertainties. "The intensification of major-country competition and geopolitical tensions has raised widespread concerns," he noted. Yu added that think tanks across Asia bear unique and critical responsibilities in advancing the region's shared future, and can help regional countries enhance political mutual trust and align their interests.

"The U.S.'s recent erratic 'tariff extortion' demonstrates how instability, uncertainty and unpredictability have become the norm in our turbulent world. Such volatility is eroding the stable environment essential for all nations' development and harming the welfare of people worldwide — including Americans," Yu said, noting that Asia is home to many developing countries and emerging economies, with export-oriented industries that are particularly vulnerable to deteriorating international trade conditions. "We urge Asian nations to unite in supporting multilateralism and global trade development, ensuring our region remains both an anchor of stability and an engine of growth."

Professor Ernst J. Kuipers, vice president of NTU Singapore, emphasized that higher education institutions serve as guardians of human civilization and carry a critical responsibility to advance global development amid today's challenges and opportunities. "Science communication is essential to dispel misconceptions and cultivate rational consensus," he said. 

Zhu Guangyao, former Chinese vice minister of finance, warned of serious global challenges — from weakened multilateralism and climate setbacks to unregulated AI and rising geopolitical tensions. He called on Asian nations to build a shared future, promoting peace and cooperation to stabilize the region and support global development. Citing Asia's economic strength, Zhu urged the region to uphold values of "peace, cooperation, openness and inclusiveness" to strengthen solidarity and institutional development while advancing trade, financial ties, regional free trade processes, digital economy collaboration and financial safety mechanisms to meet common challenges and drive inclusive growth.

Former Minister of State for the Prime Minister's Office in Singapore Chan Soo Sen emphasized that amid global turbulence, Asian nations should draw upon traditional Asian wisdom — beginning with self-reflection and internal consolidation to build collective resilience. For Singapore, he said, facing risks of constrained international trade, it must strengthen social cohesion and government credibility to bridge potential divides and safeguard diversity and coexistence. He highlighted how Asia's cultural emphasis on neighborly relations and cooperative spirit should guide enhanced regional collaboration to navigate an uncertain future together.

Alfred Schipke, director of the East Asian Institute at the National University of Singapore (NUS), believes Asia can become a key growth engine through deeper reforms and fewer barriers. With the rise of multipolarization, Asia should take on a larger role in trade, investment and financial cooperation, he explained, while countries must pursue stability through pragmatic partnerships to help reshape global governance.

(Left to right) Wang Xiaohui, editor-in-chief of China.org.cn, moderates a special dialogue session between renowned historian Wang Gungwu, and Dong Qiang, dean of Yenching Academy at Peking University, at the Think Asia Forum 2025 in Singapore, April 15, 2025. [Photo courtesy of ACCWS]

A highlight of the forum was the special dialogue between Wang Gungwu, renowned historian and former chairman of the East Asian Institute at NUS, and Dong Qiang, dean of Yenching Academy at Peking University, which explored how Asian wisdom can inform global governance. 

Wang emphasized its openness and adaptability — absorbing new ideas, respecting diverse civilizations and rejecting extremism. Meanwhile, Dong noted that traditional wisdom can be reshaped into modern governance tools, with its strength lying in flexibility and responsiveness. Both agreed that Asian wisdom, rooted in openness and mutual respect, should contribute the strength of cultural civilization to the development of a more equitable global governance system.

Tuesday's three parallel sessions featuring other speakers addressed themes of "Exchanges and Mutual Learning: The Coexistence of Diverse Asian Civilizations," "Security and Stability: Asia's Future in a Changing World" and "Development and Sharing: Asian Wisdom for Global Recovery," reflecting the region's push for greater collective influence amid global uncertainties.

Participants attending the Think Asia Forum 2025 in Singapore, April 15, 2025. [Photo courtesy of ACCWS]

The forum concluded by launching a cooperation network of Asian think tanks, with ACCWS serving as secretariat to coordinate input from all parties and promote the network's development.

Editor's note: Chinese President Xi Jinping arrived in Kuala Lumpur Tuesday for a state visit to Malaysia, seeking to further deepen the bilateral traditional friendship and strengthen political mutual trust. Here, China.org.cn highlights key remarks from President Xi during the visit.