BJIFF official poster celebrates new quality films, showing harmony in diversity

The official poster for this year's Beijing International Film Festival, designed by Huo Tingxiao, Vice Chairman of the China Film Association and President of the China Film Art Direction Academy, was released recently at a press conference. Huo has served as art director on films such as Farewell, My Concubine, Hero, and House of Flying Daggers.

The official poster blends reality and imagination to present the cultural brilliance of ancient Chinese palace architecture and the spirit of mutual learning among civilizations. It integrates the essence of traditional Chinese culture with cinematic art, creating a masterpiece with both striking visual impact and profound cultural significance.

The poster, in a kaleidoscope shape, symbolizes cinema as a medium that reveals a dazzling world. In the poster, the viewer's side of the kaleidoscope is a series of evolving colorful rings that incorporate the BJIFF windmill logo. Passing through the rings, a radiant "Morning Star" hangs high in the night sky. The "Morning Star", the brightest object in the sky other than the Sun and Moon, embodies the role of cinema as a guiding light for dreamers.

The design inside the kaleidoscope is inspired by the Forbidden City Caisson at the Wanchun Pavilion. The caisson is a key element of Chinese wooden architecture. It is the ceiling of a building, to which skilled craftsmen in ancient China added exquisite carvings, paintings, and patterns, reflecting the Chinese people's magnificent imagination as they gazed into the sky. This element was used as movies are like a caisson - ingeniously crafted by filmmakers to tell stories that are brilliantly imagined, deeply meaningful, and emotionally refined.

The pattern gracefully incorporates the essence of traditional Chinese culture, drawing together the vibrant energies of heaven and earth. Meanwhile, using cinema as a medium, the BJIFF also unites diverse cultures from around the world. The poster and the festival complement each other. The pattern suggests that Beijing, as a national cultural center and an international exchange hub, draws on its unique artistic charm to build a bridge of cinematic art that fosters mutual learning among civilizations, a journey akin to the upward gaze through a caisson in the sky. It also implies that China, through the lens of cinema, is presenting the image of a major country that embraces the future, engages in dialogue with the world, and is open-minded and inclusive.