It should come as no surprise to find Ne Zha 2 the center of attention as the China Film Pavilion marks its fourth straight appearance at Cannes.

The success of Enlight Pictures’ $2 billion blockbuster is still resonating globally after the tale of a little demon boy fighting for control of his destiny claimed the position as the highest animated earner of all-time. News broke across state-run media at the end of April that Enlight and director Yang Yuare were already “deep in development on Ne Zha 3,” with a five-year production timeline set as they try to capture lightning in a bottle for the second time.

On the ground in China, the industry is waiting to see whether Ne Zha 2’s success has a wider impact both on the country’s animation scene and beyond, but for the moment — in Cannes at least — there’s an attempt to share the spotlight.

Under the guidance of the China Film Administration, the China Film Co-production Corporation (CFCC) has gathered more than 60 companies and more than 180 films to share with the international market an insight into the talent and the forces that are moving the world’s second-largest film market forward.

While attention is being paid to the operations of the likes of China Film Co., Ltd., CMC Pictures, Bona Film Group, iQIYI, China Film Archive, China Film Foundation, the Beijing Film Academy and the Shanghai International Film Festival, CFCC has also presented a range of films designed to reflect the industry’s growing push into diversity.

Along with animated hits such as Ne Zha 2, films showcased have included the actioner Detective Chinatown 1900, fantasy epics Creation of the Gods II: Demon Force and The Legend of the Condor Heroes: The Great Hero, and documentaries The Sinking of the Lisbon Maru, A Tapestry of a Legendary Land and Shenzhou 13.

The CFCC has also organized a market screening of Gengxi Pictures’ low-budget Big World at PALAIS F on May 14 — another of the surprise hits in China from 2024, with more than $100 million collected. The Lina Yang-directed film follows the story of Liu Chunhe, a young man with cerebral palsy, as he deals with his day-to-day life while trying to help his grandmother fulfill her own dreams.

Big World was a social phenomenon on release, as the filmmaker hooked up with the likes of the state-run Xinhua News Agency to launch the “Moss Flower Convention,” an event that aimed to “advocate for fair opportunities and support for people with disabilities in society.

“Numerous well-known brands, enterprises, public institutions, universities and public welfare groups from across the country have joined this effort, and the mainstream social media interactions have already exceeded one billion engagements,” says executive producer Lu Yin. “With concerted efforts from all sectors of society, we are working towards promoting the construction of a barrier-free environment, allowing the power of on-screen stories to extend into reality. We have always firmly believed that film art springs from reality.”

Big World was meanwhile based on a grandmother-grandson relationship screenwriter Xiaoying You witnessed at her mother’s senior choir practice. The filmmakers then reached out into the community to find similar stories that would help with the film’s “emotional resonance.”

“We’re particularly grateful to real-life patients and their families, who have selflessly assumed the role of confidantes behind the cinematic scenes, generously unveiling the tapestry of their private lives and personal growth narratives,” You tells The Hollywood Reporter.

Director Yang first won acclaim for her documentaries, including the Cinéma du Réel SCAM Award winner Old Men in 2020. For Big World, Yang recruited the former boy band star Jackson Yee (Better Days) to take the lead as Chunhe, and the film picked up the audience award at last year’s Tokyo International Film Festival.

Yang says her aim was to “present the everyday moments and spiritual aspirations of individuals within the special group” from an unbiased perspective.

“By doing so, we hope to foster a deeper understanding among audiences about the social circumstances faced by this marginalized group, while also recognizing their courage and dignity as individuals,” the filmmaker adds. “Chunhe, as a cerebral palsy patient, is not only representative of this condition but also an ordinary young person. Like many other young individuals, he harbors hopes for the future, cherishes the love and connection with his family, confronts the challenges of growth, and deserves equal rights to pursue a fulfilling life.”

The film continues a recent move to expand the reach of Chinese cinema in terms of subject matter, with an increasing focus on previously unrepresented parts of society. Last year’s Yihui Shao-directed dramedy Her Story had a similar social impact, sparking a wave of think pieces and commentary across social media due to its progressive feminist themes on its way to collecting almost $100 million.

Other special events organized by the CFCC in Cannes this year include the “China Film Promotion” (May 13) at PALAIS I. Big World was also a focus, along with animated features Mortal World and The Tyrannosaurus Rex, as well as the musical A Tapestry of a Legendary Land, and the documentary The Extraordinary Journey of Pandas, a film that follows “six giant pandas across different stages of life.”

Says a CFCC representative: “In the future, China Film Pavilion will continue to forge international exchange and cooperation and pave the way for domestic film companies and Chinese films to engage in global exchanges.”