The summit brought together 35 up-and-coming creators, graduates of prestigious institutions like USC, UCLA, the American Film Institute, Chapman University, Columbia University, and NYU. Many of these talents have remained in the US post-graduation, working in film directing, screenwriting, or production, and have already earned recognition at international festivals such as Cannes and the Los Angeles Film Festival.
The event featured Jerry Li, President of Damai Entertainment, Hujing Digital Media & Entertainment Group; Yvonne Liu, Vice President of Youku, Hujing Digital Media & Entertainment Group, and Founder of the “ChunM Talent Program”; Eric Lin, General Manager, International Content Development Centre, Damai Entertainment; and Shirley Cao, Platform Cooperation Expert, The IP Cooperation & Content Development Center, Youku, and Coordinator of the “ChunM Talent Program”. These leaders shared insights on filmmaking and content creation with these talented. North American-based creators. The summit was moderated by Joe Zheng, International Development Consultant for the Hina International Young Directors Program, who holds degrees from Beijing Film Academy and USC and is a recipient of a Student Academy Award, among other international honors.
Jerry Li emphasized that the summit was designed to attract globally minded young creators, encouraging them to bring their commercial and technical expertise to the Chinese market. The aim is to accelerate the industrialization of Chinese cinema and produce content with international appeal. “In China, the entertainment and performing arts industries are still evolving, which is a huge opportunity for young creators,” he said. “We’re here in North America to connect with outstanding talent, bring fresh perspectives, and work with skilled professionals to shape the future of storytelling,” he added.
Li also highlighted the Hina International Young Directors Program, which supports emerging directors through three key avenues: providing director agency services, offering opportunities to work as second-unit directors on major projects, and incubating original IP projects. Mentored by renowned filmmakers Zhang Yimou, Huang Jianxin, and producer Bill Kong, the program had recruited 67 young directors from global film schools as of September 2025. Notable participants include Chen Xiaoyu and Zhang Yudi, whose debut features Gone with the Boat and The Midsummer’s Voice, have earned nominations and awards at festivals such as the Shanghai International Film Festival and Golden Rooster Awards.
Yvonne Liu discussed the evolving Chinese film and TV market, noting that while short-form content has surged, Youku continues to invest 90% of its efforts in long-form series. She highlighted that the Chinese market is undergoing a structural transformation, with audiences increasingly seeking richer narratives and deeper emotional engagement. The traditional model of passively waiting for creators to deliver is no longer sustainable, she argued, underscoring the need for a proactive ecosystem to identify and cultivate talent. This includes integrating industry resources, promoting cross-disciplinary collaboration, and encouraging creators to draw inspiration from real-world experiences to produce high-quality content.
This vision gave rise to the “ChunM Talent Program”, designed to address the industry’s talent gap. The program supports writers through initiatives like the “ChunM Roadshow”, which bridges the gap from concept to production, and the “Creation Camp”, which immerses screenwriters in real-world experiences for authentic storytelling. It also offers “Master Classes” and networking events to connect emerging and established creators. To date, the program has supported 27 new screenwriters and 25 high-potential projects, with six already in the development pipeline at Youku, significantly expanding China’s original storytelling landscape.
Liu expressed hope that the “ChunM Talent Program” will take root in Hollywood. “Youku is investing heavily in premium, shorter-format series, such as 8-to-12-episode projects modeled on American platforms, or 16-episode K-drama formats, or 18-to-24-episode Hong Kong-style structures,” she said. “Los Angeles isn’t just the heart of entertainment industry—it’s a storytelling crucible where stories are forged. We look forward to the extraordinary works born from the fusion of Eastern and Western cultures. True magic will be made when the epic imagination of the Classic of Mountains and Seas is infused into the three-act structure, and the serene melodies of traditional Chinese strings encounter the blockbuster rhythm of Hollywood.”
Joe Zheng addressed the challenges faced by some overseas-trained Chinese creators, who often struggle to fully integrate into foreign markets or adapt their skills to China’s industry. “What you learn in one market doesn’t always translate to another,” he said. “Young creators need to stay attuned to the preferences and needs of different audiences across markets and age groups to keep growing and creating content that resonates.”
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