Korea as A Connector: Using the SCO Film Festival to Build AI-Ready Youth and Academic Networks Across Eurasia

Xiuli Chen

— 23 min read

What if there is a film festival—not merely as a cultural showcase, but as a high-trust, low-sensitivity cooperation mechanism that helps institutions like the SCO generate tangible outcomes where formal diplomacy can be slow? The SCO Film Festival demonstrates how cinema can function as a practical “operating system” for regional collaboration: it convenes governments, industries, and universities around a shared language of storytelling, then converts that convening power into measurable deliverables—youth creator labs, co-production pipelines, IP licensing, distribution partnerships, and next-generation production standards, including AI-enabled workflows. In parallel, if the SCO can be strengthened through a film-festival logic, then APEC can be strengthened through an academia-exchange logic: APEC’s comparative advantage is its capacity to accelerate cross-border talent mobility, curriculum alignment, and innovation networks through universities and research labs, turning education exchange into longer-term capability-building for industry and policy. Either in SCO or in APEC, academia needs to play a more critical and constructive role in enhancing knowledge production and innovation.

This is precisely why South Korea should be involved in the 2026 SCO Film Festival. Korea can serve as the strategic connector between SCO’s cultural cooperation, co-hosting an “Innovation & Talent Track” that embeds higher-education exchange (film schools, media labs, joint short programs), strengthens young-artist support (creator camps, micro-drama pilots), and operationalizes responsible AI adoption across the value chain (virtual production, VFX, localization, rights management). Korea’s globally competitive content industry and strong university-based talent system make it uniquely positioned to turn festival participation into a sustained cooperation architecture—expanding Korea’s cultural-industry diplomacy and market access across Eurasia, while offering the SCO a replicable model for how culture and academia can jointly produce durable, youth-centered, technology-forward collaboration.

Background: SCO Film Festival History (2018–2025)

The SCO Film Festival is a relatively young initiative, first launched in 2018 as an essential cultural exchange platform under the SCO framework. Since its inception, three editions have been successfully held: in 2018 in Qingdao (China), 2023 in Mumbai (India), and 2025 in Chongqing (China). Each edition has contributed unique themes and programs that inform our plans for 2026:

2018 – Qingdao, China (Inaugural Festival)

The first SCO Film Festival in Qingdao was a five-day event featuring 23 films in competition and 55 screenings from 12 countries. As a significant cultural activity following the SCO Summit, it set the tone of “respecting diverse civilizations and promoting film cooperation”. During a film cooperation forum, China signaled its commitment to joint filmmaking and talent development within the SCO. The Chinese delegation announced its readiness to co-produce films and to increase cooperation in training film talent. Notably, the Beijing Film Academy offered one-year training programs for young people from SCO countries to study film production in China – an early youth-focused initiative. This edition demonstrated the festival’s potential as a starting point for mutual learning and collaboration among the film industries of SCO member states. Co-hosted by China’s State Film Administration and the Shandong provincial government, the 2018 festival laid the foundation for intergovernmental support and cultural exchange through cinema.

2023 – Mumbai, India (Building Bridges through Cinema)

After a hiatus, the SCO Film Festival resumed in 2023, hosted by India to mark its SCO presidency. The Mumbai festival showcased 57 films across competition and non-competition sections, reflecting the broad participation of SCO member and observer states. India emphasized cinematic partnerships as cultural bridges, leveraging the long-standing popularity of Indian films in SCO countries. The program included diverse categories such as a Children’s Focus (7 films) and Short Films section, to educate and engage young audiences. A series of masterclasses and panel discussions enriched the festival, featuring experts from SCO nations. These sessions explored topics such as the history and future of animation, the possibilities of creating shots with advanced VFX, and the changing landscape of film distribution amid emerging technologies. Such discussions signaled the festival’s growing interest in technological innovation and new media. The Mumbai edition thus continued the youth engagement theme (through children’s films and student waivers for attendance). It introduced conversations on animation, digital distribution, and cross-cultural storytelling, laying the groundwork for deeper technological and academic collaboration in the SCO film community.

2025 – Chongqing, China (Technology and Youth at the Forefront)

Returning to China, the 2025 Chongqing festival carried the theme “Technology & Film · Charm of the SCO”, highlighting achievements in film technology among SCO nations. This edition puts strong emphasis on technological innovation and young talent. A special Film Technology Exhibition was held alongside screenings and forums, with over 40 film enterprises showcasing advancements such as extended reality (XR) production and AI-driven tools. For example, China Film Group’s Artificial Intelligence Research Institute demonstrated new AI-powered dubbing technology at the festival’s film market. The festival also introduced long-term collaboration mechanisms: during the Film Cooperation Forum, an initiative was launched to establish an “SCO Producers Alliance” to facilitate resource sharing and co-productions across countries. At the same forum, organizers announced the SCO Young Filmmakers Exchange Program, a systematic training and networking platform for aspiring young filmmakers from SCO nations. These programs reinforced the festival’s focus on youth development and industry cooperation. The 2025 awards (Golden Camellia Awards) and film entries continued to celebrate cultural diversity. Still, the lasting legacy of Chongqing’s edition is its push for technological integration (virtual production and AI) and institutional partnerships (producer alliance and youth training). Local government support was notable as well – Chongqing authorities rolled out new incentives during the festival, including subsidies for script development, film distribution, technological innovation, and talent development. Thanks to these policies, dozens of new film and TV projects (including digital production, innovative imaging, and AI-driven studios) were announced in Chongqing, catalyzing an industry boom. This exemplifies how government backing at the festival can directly spur growth in the creative industry.

Across these editions, several themes consistently emerge: youth engagement, through training programs, student-focused sections, and young filmmaker exchanges; international collaboration, via co-production forums, alliances, and shared film showcases; and innovation in film technology, with increasing focus on digital techniques, AI, and new formats. These lessons inform our 2026 proposal, which aims to blend cultural exchange with cutting-edge creativity and to introduce new partners (like South Korea) into the SCO film community.

To ensure the 2026 SCO film festival remains forward-looking, it must integrate the latest global trends in content creation and technology. Two significant trends stand out: AI-assisted filmmaking and the rise of short-form “micro-drama” content. Embracing these will enrich the festival program and position SCO at the forefront of innovation.

By integrating these trends – AI-driven film innovation and short-form drama – the festival can demonstrate relevance to contemporary global cinema. Imagine festival-goers in 2026 experiencing an AI-edited short film or attending a micro-drama pitch session. These additions will energize the program, encourage cross-pollination between tech and art communities, and provide SCO filmmakers with fresh ideas to experiment with.

Deepening South Korea’s Participation in 2026

South Korea, while not an SCO member, is a leading member of the Asian film industry and can significantly enrich the festival’s diversity and innovation. We propose a model for deeper Korean participation through co-hosted events, educational exchanges, and industry partnerships. These initiatives will harness South Korea’s creative strengths – often exemplified by the global success of Korean cinema – for the benefit of the SCO community, while also integrating Korea into this multilateral cultural platform.

To achieve this, the 2026 festival can implement several joint programs with South Korean partners:

  • Co-Hosted Themed Section: Dedicate a special segment of the festival co-curated with South Korea. For example, a “Korea Focus” section could showcase acclaimed Korean films (classics and new releases) to SCO audiences, highlighting themes of common interest (such as youth, technology, or cultural heritage). This section can be co-hosted by the Korean Film Council (KOFIC) or by representatives of the Busan International Film Festival, ensuring high-quality programming. A curated selection of Korean films, perhaps under a theme such as “Bridging Cultures: Korea and SCO,” will serve“Bridging Cultures: Korea and SCO” as a cultural bridge. Additionally, a South Korea-themed opening or gala night could be considered, featuring Korean filmmakers and artists alongside SCO participants. Such prominent inclusion will signal the festival’s openness and create a platform for dialogue between Korean cinema and the cinemas of the SCO member states.
  • Industry Panels and Academic Conferences: Leverage South Korea’s expertise in both film production and academic research by organizing joint panels and conferences during the festival. For instance, the festival can host an Industry Forum on “AI Meets Cinema: Insights from Korea and SCO”, where Korean directors known for technological experimentation (e.g., those using virtual production or CGI in K-cinema) share the stage with SCO filmmakers. Similarly, academic conferences could be organized in partnership with top Korean universities (such as the Korea National University of Arts or KAIST for technology) on such issues as film technology, digital distribution, and audience analytics. A dedicated SCO–Korea Film Education Conference could bring together professors and students from Korean film schools and universities across SCO countries to discuss curriculum collaboration, AI film research, and global job skills for future filmmakers.SCO–Korea Film Education Conference. By featuring Korean industry leaders and scholars, these panels will enrich festival discourse. They also position Guangdong (and the festival) as a convening point for East Asian cooperation in creative industries.
  • Youth Exchange Programs & Joint Film Incubators: Youth Exchange Programs & Joint Film Incubators: Establish a bilateral (or multilateral) youth program linking South Korea with the SCO countries.This could take the form of an “SCO–Korea Young Filmmakers Lab” or exchange workshop held during or around the festival. Building on the SCO Young Filmmakers Exchange Program launched in 2025, the 2026 edition can invite Korean film students and emerging directors to join their peers from SCO member states in a week-long collaborative project. Mixed teams could co-create short films or pilots, blending storytelling techniques from different cultures. Mentors from both South Korea and various SCO countries would guide them, fostering long-term bonds. To support projects beyond the workshop, we propose a joint film incubator that continues after the festival – possibly hosted by a film school or studio in Guangdong – where selected young filmmakers from South Korea and SCO nations get mentorship, development funding, and access to production facilities. This incubator can focus on projects that incorporate technology (reflecting the AI theme) or on co-production between countries. By linking Korean and SCO youth in the creation process, we nurture a new generation of filmmakers fluent in cross-cultural collaboration. (Such models have precedent; for example, the Busan International Film Festival’s Asian Film Academy has successfully connected young filmmakers across Asia for training.) The SCO festival can emulate and expand this approach within its framework.
  • Film School Collaborations & Dual-Degree Programs: To institutionalize long-term educational ties, the festival committee should promote partnerships between film schools in South Korea and SCO member states. A concrete proposal is to initiate dual-degree or exchange programs in fields like Film Production and AI Technology. For instance, a consortium could be formed, including a leading Korean university (for technology and content, e.g., a partnership between KAIST’s media labs and Beijing Film Academy or Moscow VGIK). Students could spend time in both countries and graduate with a joint certification in film and computational media. The festival can facilitate the signing of MOUs for such programs, perhaps hosting a roundtable of university presidents and government officials. Another idea is to create an “SCO–Korea Film Scholarship Fund” that sponsors students from SCO countries to study in Korean film programs and vice versa. South Korea’s strong academic programs in animation, game design, and cinematic arts would complement the SCO countries’ institutions, driving a two-way flow of knowledge. These collaborations, supported by government and industry via the festival, align with the Triple Helix approach – producing skilled talent who understand both the art and tech of modern filmmaking. Over time, such educational links could evolve into a network of sister film schools across SCO and Korea, jointly hosting events or conducting research on topics such as AI in cinema.

Through these measures, South Korea can become a key stakeholder in the 2026 festival rather than just a guest. Co-hosting sections and forums gives Korea a visible role; youth and academic exchanges build goodwill at the grassroots; and collaborative programs ensure that the impact endures beyond the festival week. South Korea’s participation will also likely draw greater international attention to the festival (given the global popularity of Korean media) and attract sponsors or tech partners from Korea’s vibrant entertainment technology sector. Overall, this deeper integration aligns with the SCO festival’s ethos of cultural exchange while opening new avenues of innovation and market opportunities for all parties involved.

University–Industry–Government Collaboration

To realize the ambitious initiatives for 2026, a practical innovation arises from synergy between these three spheres, turning knowledge into technology, fostering economic value, and accelerating social development. Applied to the SCO Film Festival, educational institutions, creative enterprises, and public agencies collaborate closely to drive the festival’s success and legacy.

Key roles and interactions in this Triple Helix approach include:

  • Universities and Film Academies: Educational institutions will serve as hubs for talent and research. Universities across SCO countries (and partners like South Korea) can contribute by designing training programs, hosting workshops, and con rather thanerhaps an “SCO Film Education Alliance” – to convene annually. This alliance would coordinate the exchange programs and dual-degree initiatives mentioned earlier, ensuring curriculum alignment (e.g. a common module on SCO film cultures or AI media tools). By actively involving universities, the festival taps into a wellspring of innovative ideas and ensures that capacity-building (skills training, knowledge transfer) is central. As seen in prior festivals, institutions like Beijing Film Academy have already played a part by offering training slots to SCO youth; in 2026, more universities (including those in Guangdong and partner countries) will be engaged to multiply these opportunities. Academic participation also means rigorous documentation and assessment of festival outcomes (through papers, case studies), feeding back into policy recommendations for cultural cooperation.
  • Industry (Film & Tech Sector): Private sector engagement is crucial for resources, technology, and market access. The festival’s industry partners will range from film production studios and distributors to tech companies specializing in AI, VR, and media platforms. In 2025, over 40 film enterprises participated in the tech exhibition – we will expand this concept in 2026 into a full-fledged Film Tech Expo and Market. Companies can showcase innovations (for instance, Korean and Chinese startups could demo AI editing software, while Russian studios show new animation tools). An SCO Producers Alliance – already initiated in 2025 – will be operational by 2026 to connect producers for co-productions. The festival will work with this Alliance and major studios to launch a Co-Production Marketplace where content ideas and scripts can be pitched to potential financiers from around the world. To encourage industry participation, the government (national or provincial) may provide incentives or subsidies (similar to Chongqing’s 35% subsidy policy for filming locally) to companies that enter co-production deals or invest in SCO projects. Industry sponsorship is another component: technology firms might sponsor the youth AI film competition or provide equipment and AI tools for festival workshops. By aligning industry interests with festival programs, we create a win-win: companies gain access to new markets and talent, while filmmakers gain access to technology and funding. Notably, the short-drama sector (with companies like DramaBox or TikTok’s content arm) could be invited to sponsor a short-drama competition, bringing in cutting-edge content creation techniques and perhaps instant distribution channels for the winning entries.
  • Government and Public Agencies: Government bodies – from the SCO Secretariat to national ministries of culture and local authorities in Guangdong – form the third pillar, providing policy support, funding, and strategic direction. The festival itself is under the SCO framework, so it enjoys multilateral governmental backing. For 2026, the Guangdong provincial government and the Chinese National Film Administration are likely to serve as core organizers. They can champion policies such as funding grants for co-produced films, visa facilitation for festival participants, and frameworks for cross-border copyright sharing. A primary recommendation is the establishment of an SCO Film Fund, backed by member governments, to finance collaborative film projects, especially those incubated through festival programs. Government agencies will also ensure that the festival’s initiatives align with cultural agreements and educational exchange accords within the SCO. For instance, ministries of education can help authorize joint degrees or credit transfers for university collaborations, and ministries of culture can sign off on the film copyright trading mechanisms. The presence of government is also key to establishing the Global Film Copyright Trading Network under SCO (detailed in the next section), as it may require international agreements and regulatory alignment. Throughout the festival planning, a trilateral coordination board (university representatives, industry leaders, and government officials) should meet regularly to oversee progress – epitomizing the triple helix in action. In short, governments will act as enablers and guarantors of the collaborative environment: providing venues, publicity, seed funding, and diplomatic channels to broaden participation (for example, inviting observer states or dialogue partners formally, which could include offering South Korea a “Dialogue Partner” status for cultural cooperation if feasible).

By fostering these university–industry–government interactions, the 2026 festival will become more than a week-long event; it will be an innovation engine. Knowledge from universities will be translated into practical, creative outputs through industry, under supportive government policies. The result will be a self-sustaining cycle: new educational programs produce skilled filmmakers; those filmmakers drive industry collaborations; successful projects encourage further government support for culture and innovation. Ultimately, the Triple Helix model ensures that festival initiatives (training camps, co-productions, tech showcases) have a structured support system and can scale up or continue year-round. This approach will drive not only educational and creative partnerships (such as film school exchanges and joint productions) but also industrial partnerships (such as distribution deals, technology licensing, and other industrial collaborations) across SCO nations, aligning perfectly with the SCO’s mission of mutual development.

Roadmap for International Co-Productions, IP Exchange, and Youth AI Innovation

To translate the above ideas into action, we propose a phased roadmap that the SCO Film Festival Committee can implement starting in 2026. This roadmap focuses on promoting international co-productions, facilitating IP (intellectual property) exchange, and launching a youth-centered AI film competition – all key objectives for the upcoming edition. Each step is designed to build momentum and create structures that will persist beyond the festival itself:

  1. Launch the SCO Producers Alliance and Co-Production Fund (2026): Kick off the festival with the formal inauguration of the SCO Producers Alliance (announced in 2025) as a working body. This alliance will comprise producers’ associations, film agencies, and studio representatives from all SCO member states (and partners such as South Korea). At the 2026 festival, hold a Co-Production Forum where Alliance members identify priority collaboration projects – for example, film ideas that involve talent or settings from multiple SCO countries. To support these projects, establish an SCO Co-Production Fund, funded by member governments and private sponsors. The fund can offer grants or matching financing to films that artists jointly make from two or more SCO nations. Additionally, the festival’s film market can integrate a Project Pitching Session: filmmakers pitch new projects to a jury of producers/investors, with the most promising co-production projects receiving seed funding or guaranteed distribution deals. By providing concrete financial incentives and a networking platform, this step will jump-start more cross-border films. (For instance, an Indian-Kazakh co-produced drama or a China-Russia animated feature could find partners here.) This addresses the “international co-production” aspect by moving from talk to transactions. China’s 2018 offer to co-produce movies with other SCO states will thus be realized through tangible partnerships formed at the festival.
  2. Develop the SCO Film Project Incubator & IP Exchange Platform (2026–27): Building on the youth incubator concepts, the festival should formally launch a year-round Film Project Incubator program. This incubator will take projects (especially from young filmmakers or those focusing on innovative formats like AI-assisted films or short dramas) and help develop them to the production stage. It will connect creators to mentors, studios, and, crucially, investors – acting as a bridge to the industry. The incubator will leverage the network of investment institutions and production companies established by the festival’s prior initiatives. (Recall that the festival’s “Youth Film Production Plan” and “Youth AI Film Plan” were created to connect young creators’ projects with domestic and international investors, industry funds, and studios.) In essence, the incubator will provide project development support and matchmaking services for SCO collaborative projects, functioning as a film startup accelerator. Alongside this, we propose the creation of an IP Exchange Platform – a digital marketplace where content rights and intellectual properties from SCO countries can be showcased and traded. This platform would allow, for example, the discovery of remake rights for a Chinese web novel or a Kazakh film by producers in other countries, fostering IP exchange. It can be seeded with content from all member states curated by national film boards. At the 2026 festival, a prototype of this platform can be demonstrated, and training sessions can teach filmmakers how to use it to find partners or license content. Over 2026–27, this platform would be developed into a robust online SCO Content Marketplace, potentially integrating blockchain or secure transactions for rights trading. Such a system, supported by the incubator’s pipeline of new projects, will significantly lower barriers to co-production and distribution deals by making IP rights more transparent and accessible.
  3. Establish a Global Film Copyright Trading & Distribution Network (Under SCO): As a cornerstone initiative, the SCO Film Festival Committee should formalize the creation of a global network for film copyright trading and distribution. This is envisioned as a consortium and platform that links all SCO member, observer, and partner countries’ film industries for the exchange of distribution rights and collaborative releases. Practically, this network would involve setting up a centralized SCO Film Copyright Trading Platform (as mentioned above) and forging agreements that allow content to flow more freely across borders. The aim is to help outstanding films from Asia (and SCO regions) enter each other’s markets through mechanisms like rights sharing, co-distribution, and reciprocal quotas. According to the festival’s plans, this network would create channels to connect film institutions of SCO member, observer, and dialogue partner states with global film markets, and then establish a trading platform and distribution network covering the SCO countries and beyond. By 2026, the groundwork can be laid: member states can sign an MOU at the festival, agreeing to contribute to and utilize this network. The platform can feature an annual SCO Content Catalog (updated at each festival) listing films available for licensing. The network might also coordinate collective bargaining – for instance, a group of SCO countries could jointly negotiate with a streaming service to carry a package of their films, ensuring wider reach. Over time, this network aspires to function like a “Pan-SCO Film Distribution Union,” which would dramatically increase the circulation of films among countries that historically have had limited exchange. For example, a hit Uzbek film could find distribution in India and China through the network, or a Chinese film could get simultaneous releases in multiple SCO markets. We recommend setting a target of securing, by 2026’s end, at least five films for international distribution via this network as proof of concept. The long-term vision is a win-win system in which cultural exchange occurs alongside commercial benefits – Asian films gain larger audiences, and distributors gain new revenue streams. (This addresses both IP exchange and distribution objectives, cementing the festival’s role in not just celebrating films but actively moving them across borders.)
  4. Organize an International Youth AI Film Competition (2026 and Beyond): To engage the next generation and spotlight innovation, the festival will host a Youth-centered AI Film Competition. In this unique contest, the format for young creators incorporates AI technology into filmmaking. This could take the form of an “International Youth AI Extreme Creation Camp,” a concept already envisioned by the festival organizers. In this program, young filmmakers leveraging the provided AI tools (for example, early-career professionals) from all over the world will be invited to participate in a fast-paced creative challenge during the festival. They will be tasked with producing very short films or film scenes within 48–72 hours, leveraging the provided AI tools (for example, script generation, video editing, VFX, or even acting via virtual avatars). Experts in film and computer science would mentor the process. The result is a showcase of how AI can be integrated at various stages of filmmaking by agile creative minds. This competition will effectively create an “AI film battleground” for global youth – a platform where innovation is on display. All entries would be screened at the festival, and awards would be given in categories such as Most Innovative Use of AI, Best Story (AI-assisted), Technical Excellence, etc. To maximize inclusion, this competition should be open worldwide (not just SCO countries), positioning the SCO festival as a global leader in championing AI creativity. The top winners might earn internships or incubation deals with studios (tying back to the incubator program). Additionally, the festival can commit to producing or distributing the winning project, giving these young creators a tangible break. Over successive years, this could grow into a prestigious fixture, attracting tech sponsorships (imagine companies like Samsung, Tencent, or Microsoft supporting it) and evolving the craft of filmmaking. By launching this in 2026, the Guangdong festival aligns perfectly with its high-tech locale and sets a precedent: it cements youth and AI at the heart of the festival’s identity. As described in festival plans, the goal is to cover a global range of young creators and provide an equal platform regardless of background, truly democratizing access to new film technology.

Each of these roadmap steps reinforces the others: the producers' alliance and fund generate projects; the incubator and IP platform develop and exchange those projects; the distribution network ensures finished films travel abroad; and the youth AI competition feeds fresh talent and ideas into the ecosystem. The timeline can be overlapped – many actions start in 2026 but continue thereafter as annual or permanent programs. By following this roadmap, the 2026 SCO Film Festival will not only host a successful event but also establish a sustainable framework for collaboration that endures. International co-productions will become easier to initiate (with financial and institutional backing in place), IP exchange will become commonplace through the trading platform, and a pipeline of innovative youth content will continue to inject energy into SCO cinema. We recommend that the festival committee assign specific working groups now to each of these items to ensure readiness by 2026.

A highlight of this proposal is the emphasis on forming a global film copyright trading and distribution network under the auspices of the SCO. This concept merits special attention as it can be transformative for the Asian and SCO-region film markets. Essentially, this network is envisioned as a comprehensive platform and alliance enabling films to be traded (in terms of rights) and distributed across member countries with greater ease, thereby breaking down silos between national film markets.

The network will operate on two levels:

  1. Institutional Alliance: The festival will facilitate the creation of a consortium of film authorities and major distributors from SCO countries (plus interested partners). This could be called the SCO Film Distribution Alliance. Members might include national film boards (such as Roskino from Russia, China Film Group, and India’s NFDC), major streaming platforms in SCO regions, and even state television networks that broadcast films. The alliance will meet during the festival to agree on cooperation terms – such as sharing market data, aligning on censorship standards to facilitate approvals, and scheduling SCO Film Weeks in each country where a batch of films from other member states is showcased. An outcome could be a multilateral agreement that any film winning an award at the SCO Festival will be automatically recommended for theatrical or OTT release in all member countries, with expedited licensing. Governments can support this by negotiating import quota exceptions or providing dubbing subsidies for these films.
  2. Digital Trading Platform: Complementing the alliance is the online copyright trading platform introduced earlier. This secure digital marketplace will list available film titles and their rights (theatrical, broadcast, streaming, etc.) for different territories. Sellers (producers or rights holders in one country) can list their film, and buyers (distributors in another country) can negotiate deals through the platform. The platform may also host virtual rights exchange events during the festival, akin to a stock exchange session for film rights. By 2026, the festival can showcase a prototype covering a limited selection (say, top 20 festival films from past years that haven’t been widely sold yet), allowing delegates to try out bidding or forming distribution partnerships on the spot. Over subsequent years, the platform’s database will grow. Importantly, the platform will also connect to the incubator and IP exchange we discussed, meaning even projects in development can attract pre-sale deals from other countries. The festival might partner with a tech provider to build this (possibly a company experienced in blockchain for rights management to ensure trust and traceability).

The benefits of this network are considerable. It effectively creates a unified SCO film market that can counterbalance other major regional blocs. Filmmakers gain a shot at reaching up to 4 billion people across SCO countries with far less friction, thus increasing the return on investment for culturally rich films that otherwise struggle to travel. A movie from Iran or Kazakhstan, for instance, could find new life and revenue by screening across East, South, and Central Asia via the network. In contrast, previously, it might only circulate domestically or at festivals. Likewise, audiences in SCO countries gain access to a broader variety of content, enriching cultural understanding – a direct people-to-people benefit in line with SCO’s mission.

From an industry perspective, this network also encourages IP exchange and remake collaborations. The trading platform could facilitate not just finished film distribution but also the sale of remake rights or format rights (for example, a popular Chinese web drama’s format could be sold to an Indian producer for local adaptation). By providing a clear channel for these transactions, the network helps monetize IP across borders in a structured way, whereas currently, such deals are ad hoc.

The festival’s role will be to incubate and promote this network. In 2026’s program, a dedicated session can be held to introduce the Global SCO Film Copyright Network concept to all delegates, with testimonials or pilot success stories (e.g., “Film X from Mongolia found a distributor in Pakistan through our platform, now reaching millions”). We will cite the festival’s own planning document, which underscores this initiative: the intention to build a film copyright trading platform and distribution network covering SCO countries and global markets. By anchoring it under the SCO, it gains political support and legitimacy. The network will also collaborate with international institutions – for instance, UNESCO’s creative economy programs or existing markets like Cannes Film Market – to ensure it’s plugged into worldwide best practices.

The SCO Film Festival is not just about showcasing films, but is actively building infrastructure for the global circulation of films. It’s an ambitious but achievable leap that could become one of SCO’s flagship cultural achievements.

Conclusion

The 2026 SCO Film Festival is poised to be a landmark event that synthesizes cultural heritage and futuristic innovation. By learning from the festival’s journey – Qingdao’s spirit of cooperation, Mumbai’s cultural bridge-building, and Chongqing’s tech-driven initiatives, the integration of global trends like AI-assisted filmmaking and vertical short dramas will ensure the festival resonates with contemporary audiences and creators. Crucially, South Korea's active involvement as a partner adds a new dimension to East Asian solidarity and creative exchange, enriching the SCO family beyond its formal membership.

This festival will be a sustained collaborative ecosystem where universities nurture talent, industries propel innovation, and governments provide an enabling environment. The recommended roadmap sets clear, actionable steps to foster co-productions, streamline IP exchange, and engage youth through AI – all of which will have a lasting impact on how SCO countries produce and share films. The emphasis on a global copyright trading and distribution network under SCO ties all these efforts together by creating channels for continuous exchange and mutual benefit.

In practical terms, by the end of the 2026 SCO film festival we expect to see: new co-produced film projects launched with multi-country teams; young filmmakers from Seoul to Samarkand forging friendships and stories together; cutting-edge AI film experiments that wow audiences; agreements signed linking film schools and setting up joint programs; and a digital platform where a Russian distributor might acquire a Thai film or a Chinese series finds a Kazakh remake deal – all under the SCO banner. These outcomes will solidify the SCO Film Festival’s role not just as a cultural gala but as a driver of innovation, education, and commerce in cinema. Through united efforts, the festival will contribute to a more interconnected film community across Eurasia, foster the creative economy, and strengthen the cultural bonds of the SCO fraternity for years to come.

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