Attending the 2025 Shanghai International Film & TV Market was much more than a regular business trip. Just a few days before the event, on Friday, June 20, Israel launched an attack on Iran, and all flights were suspended. Still, I was determined not to miss it. After traveling overland through Armenia and Georgia, I finally reached Bahrain and managed to fly to Shanghai. It was a long and difficult journey, but I arrived with focus and energy.

This year marked the first-ever merger of the SIFF Market and STVF Market, now presented together as the International Film & TV Market. The event brought together a diverse mix of industry professionals, including production companies, distributors, post-production studios, tech providers, universities, and public institutions. The result was a dynamic and forward-looking platform connecting global players from across the film and television ecosystem.

I attended the market with my close colleagues: director Claudia Bershadskaya and cinematographer Kostygina Nadezhda. On the first day, I also had the pleasure of meeting composer Ehsan Matoori, who was visiting Shanghai for another program.

What follows is a personal and professional reflection on the meetings I had, the atmosphere I experienced, and the opportunities that Souzian discovered in this vibrant market.

Day One: A New Experience and the Excitement of Discovery

I booked accommodation close to the festival venue. After a 15-minute walk through the clean and beautiful streets of Shanghai, I arrived at the Shanghai International Exhibition Center. I picked up my badge and entered the main hall to explore the market.

One of the first things that caught my attention was the strong presence of Chinese companies showcasing imaging equipment. Alongside them were several AI service providers offering tools for dubbing, voice replacement, and video enhancement. From the very beginning, it was clear that this event was not only about content sales but also about new technologies shaping the future of audiovisual storytelling.

After that, I explored the booths of the participating countries. I saw representatives from Turkey, Saudi Arabia, Slovakia, Kyrgyzstan, Georgia, and Russia. Among them, I noticed that the booth of Netfilma, an Iranian distribution company, was empty. It was truly disappointing to see, knowing that many Iranian colleagues were unable to attend because of the flight cancellations.

The venue itself was beautifully designed, and I continued exploring other sections where I came across independent film companies. Many of them were small studios working actively across fiction, documentary, and experimental films. I had a few informal conversations and collected materials that might be useful in the future.

The rest of the day was mostly spent observing and getting a better sense of the market. Later in the afternoon, I went for a walk in the city. I was impressed by how safe and open Shanghai felt, especially the sense of comfort and security visible for women in public spaces. That impression stayed with me well beyond the first day.

Day Two: Beginning the Conversations and Exploring New Opportunities

It was 8 a.m. in Shanghai, which meant 3:30 a.m. in Tehran. While having breakfast on June 22, I suddenly saw the breaking news, the United States had attacked Iran. I was overwhelmed with panic and anxiety. I tried not to think too much, went back to my room, and rested for a bit.

Around noon, I headed to the market with a clear decision to focus on building connections. I began with the Shanghai Media Group, then continued visiting other key booths. I had already scheduled a few meetings in advance and followed through with them. I spoke with companies from Russia and Turkey and had a friendly conversation at the Saudi Arabia booth. Everyone was open and welcoming.

On this day, I began to understand how the business side of film sales worked at this market. I received a few early offers for collaboration and potential licensing deals. These conversations were encouraging and confirmed the value of being present in person.

I also returned to the Netfilma booth, still empty, and noticed something familiar about their investor’s photo. I checked my contacts and realized I had worked with Mr. Ali Sartipi, a well-known Iranian producer, almost ten years ago. I sent him a message, expressing my disappointment that the team couldn’t make it. He called me back, and after a warm conversation, the manager of Netfilma also contacted me. They kindly invited me to represent their booth during the remaining days of the market.

I accepted and offered to introduce their TV series to visitors while also sharing Souzian’s catalog. They welcomed the idea, and we arranged everything. By the end of day two, I had a booth in the Shanghai Film & TV Market. It was a strong reminder that old professional connections are always worth nurturing.

Day Three: Taking the Booth and Starting Direct Engagement

I woke up to a rainy morning in Shanghai, feeling calm yet motivated. I headed to the venue and officially took over the Netfilma booth. After setting everything up and arranging the space, the first group of visitors arrived — a delegation from Azerbaijan’s national radio and television agency, AzerTag. I met with Mr. Aliyev, the head of the group, and we discussed both Souzian’s documentaries and Netfilma’s Iranian series, as well as the possibilities of broadcasting them in Azerbaijan.

Throughout the day, I had meetings with distributors and buyers from China, Indonesia, Russia, and Thailand. I also walked around the market and spoke with other exhibitors. The response to the Souzian catalog was very positive, with multiple contact exchanges and interest in screeners. It was encouraging to see how much curiosity there is for Iranian documentaries, especially when presented professionally.

Day Four: Printing, Networking, and New Cultural Connections

The first task of the day was to print physical copies of our catalogs. I found a local print shop nearby. Although the staff didn’t speak English, I managed to get the job done with high quality and even received a discount. Holding the printed catalogs in hand added a more solid and professional touch to our presentation at the booth.

I spent the rest of the day visiting other exhibitors and learning more about the companies present at the market. These conversations opened up new ideas for potential collaborations. Later that afternoon, I met Mr. Hossein Khalifi, an Iranian cultural professional based in Shanghai. He generously shared insights into how the cultural trade system works in China and introduced me to several local producers and filmmakers. His guidance helped me better navigate the business culture of Chinese media.

I also attended a talk by Jiella Esmat, the Co-Founder and CEO of 8 Lions Entertainment, a London based IP development company creating content for kids and teens. After her session, I was surprised to discover that she is Iranian. We had a longer conversation afterward and exchanged thoughts on content development and cross cultural storytelling.

That evening, a closing reception was held ahead of the final day. It was a relaxed and friendly environment, and many participants took the chance to connect more informally. The night ended with laughter, new friendships, and a sense of shared purpose.

Day Five: A Busy Closing Day and New Insights

The final day of the market was very busy, with a large number of visitors passing through. Many conversations took place and lots of contact information was exchanged, but none of the discussions reached a clear outcome during the event itself.

One key insight I gained was the strong demand from Chinese companies for vertical short dramas. These are short films or series shot in a vertical format, with each episode lasting between three to ten minutes, sometimes extending to one hundred episodes. This format is currently a major trend in the Chinese content market and something worth considering in future production and acquisition strategies.

I also received a few invitations to attend other film markets, including the one held during the Busan International Film Festival. These opportunities are worth evaluating and could help expand Souzian’s international reach.

Final Reflections

This edition of the Shanghai International Film & TV Market had noticeable limitations in terms of international participation. Only a small number of countries were present, but I was able to build promising connections with professionals from Turkey, Russia, Georgia, Kazakhstan, South Korea, Saudi Arabia, Indonesia, Thailand, Malaysia, Singapore, and India. These contacts need careful follow-up in the coming weeks.

This was my first experience attending a film market in person. More experienced participants shared their insights with me, helping me understand both the strengths and weaknesses of the event. I believe that becoming familiar with the Chinese market and taking part in such an environment is extremely valuable for the path I’m building. Experiences like this help shape a broader perspective and open the door to more meaningful professional relationships.

Beyond the market itself, I found the city of Shanghai to be truly beautiful. It completely changed my old perceptions of China. Although I was not in the best emotional state and felt constant concern for the situation back home in Iran, I accepted that there was little I could do from afar. So I tried to find peace in the environment around me. Thankfully, the city itself, its people, and my friends here helped me experience moments of calm and comfort. For that, I am truly grateful.

– Abbas Souzian – Shanghai