Time has been at a premium for Singaporean filmmaker Anthony Chen so far in 2026. He’s been on the road with his latest production, We Are All Strangers, which bowed in competition at Berlin in February before opening both the Hong Kong International Film Festival and Italy’s Far East Film Festival in Udine in April.
The film — a layered family drama — closes out what Chen calls his “Growing Up” trilogy, following his Cannes Camera d’Or-winning debut Ilo Ilo (2013) and 2019’s Wet Season in delving as deeply into the rise and fall of relationships as into life in his home country.
But now comes the Shanghai International Film Festival, and with it time to recharge — and maybe even reflect — as Chen serves as president of the Chinese event’s Asian New Talent jury. Ilo Ilo — and Cannes — kick-started his career and lifted him into the global film industry’s consciousness with the acclaim and awards that followed.
So Chen knows the good that festivals can do. Alongside directors Kamila Andini (Indonesia), Liu Jiayin (China) and Farkhat Sharipov (Kazakhstan), plus Taiwanese actress Wen Qi, he’ll have 12 films from across the region — all from first- or second-time filmmakers — to assess.
As Chen explained on the eve of the festival, the Asian New Talent section wears its legacy proudly, with the likes of Chinese hitmaker Ning Hao (Mongolian Ping Pong) and Japanese anime auteur Makoto Shinkai (The Place Promised in Our Early Days) unearthed via its competition. He knows there might be tough choices ahead — but with plenty of coffee at hand, he’s up for the challenge.
Can you share your first impressions of the lineup for this year’s Asian New Talent competition?
There are already a few titles and directors that have caught my eye, so I’m excited. I can tell there will be some real gems to discover.
What’s the process you take into jury duty — do you research and dig around before your screenings, or prefer to know as little as possible?
Despite what I just said about being excited by certain titles, I actually like to watch a film cold. I never read reviews or plot synopses. I like to be surprised. So that’s how I will do it in Shanghai, just as I always have. That said, I take jurying very seriously. I’m not a big coffee drinker, but I drink a lot of it when I’m on a jury, just so I don’t fall asleep. For me personally, that’s basic respect for a filmmaker and their work, when you are judging them.
In what ways did festival screenings and awards for your early films impact your career?
I was very fortunate. My first film, Ilo Ilo, won over 40 awards around the world, including the Camera d’Or in Cannes and multiple Golden Horse Awards in Taiwan. That essentially launched my career and opened so many doors and opportunities. Which is why I truly believe in the value of film festivals — they’re such important launchpads for young filmmakers.
What do you look for in the movies you watch, and has this evolved over time?
I love to be moved on a human level, not in a tear-jerking, sentimental way, but in a profound way. Those films usually make you reflect and contemplate questions about your own humanity. As a director myself, you also can’t help but be drawn to masterful mise-en-scène and cinematic language. But the best ones are always those that understand ‘less is more.’
What role do you see the Shanghai festival playing in Chinese-language and Asian cinema?
The Asian New Talent section, in particular, is a shining example of Shanghai’s role in discovering young Asian filmmakers. If you look at the list of filmmakers who came through this section, it’s quite luminous. The late Pema Tseden — whom I miss dearly and admire greatly — Ning Hao, Makoto Shinkai, Tom Lin are just some of the wonderful talents launched at Shanghai.
Any news on your own work with the Chinese industry? Will you find time to explore partnerships during the festival and market?
I have a 12-part episodic series that I’ve developed at my company Giraffe Pictures. It is my first dive into the episodic world, and I am excited about show-running this. We are scheduled to go into production in the next few months. It marries food and family — universal themes, but also what I personally value a lot. This is set up as a Chinese-Singapore co-production and I am partnering [producer] Meng Xie again on this, who worked with me on The Breaking Ice.
What about the city itself — is there somewhere you always return to when you visit?
I love Shanghai. It’s one of my favorite cities in the world, and so different from every other Chinese city because of its East-meets-West legacy. I love walking down the tree-lined streets in the French Concession area, I never get bored of its old-world charm. There are moments you might forget and think you’re in Europe. I love the cafes, the galleries, the fashion boutiques, everything. That’s why it didn’t take me long to say yes to being jury president for the Asian New Talent section.
