What makes a movie real or not real is not the medium, but the heart and soul of the story in motion picture.
- EKENYERENGOZI Michael Chima
Using AI as a tool for making movies is like the softwares used for the production of animated movies: Autodesk Maya; the industry standard for 3D cinematic feature films, modeling, advanced character rigging, complex simulation, and rendering; Blender, a powerful, free, and open-source 3D creation suite used by independent filmmakers for everything from modeling to 2D/3D hybrid animation; Pixar RenderMan; Pixar’s proprietary, high-quality rendering software that is widely utilized by major studios to calculate photorealistic lighting, shading, and geometry; Houdini, the go-to tool for visual effects (VFX), specifically procedural simulations like fire, smoke, water, explosions, and destruction and ZBrush, a digital sculpting tool used by character designers to create highly detailed, clay-like 3D models before they are animated.
Hollywood uses a combination of industry-standard software programs for different stages of the computer-generated imagery (CGI) and visual effects (VFX) pipeline for many of the blockbusters of superheroes and epic films.
AI has made CGI more advanced for the best film and TV productions.
How AI Connects with CGI Workflows:
Faster Ideation: Artists use AI tools to quickly generate mood boards, concept art, and visual references before building 3D models.
Automated Tasks:
AI plugins inside traditional CGI software automate time-consuming jobs like motion tracking, rotoscoping, and rigging.
Enhanced Physics: AI analyzes real-world physics to help CGI software render realistic effects like fire, smoke, and water simulation.
Texture and Detail: Tools use machine learning to upscale textures and clean up render noise, reducing render times.
Key Differences Between AI and CGI
Control:
CGI software allows artists to manually adjust every vertex, light source, and camera angle.
AI generates pixels based on probability rather than precise measurements.
Consistency: CGI keeps objects and characters identical across different camera angles.
AI can alter details or geometry between generations if the user does not have the technical expertise for the correct and exact photography and cinematography.
Image produced with Google Gemini
@Ekenyerengozi Michael Chima. All rights reserved
My short film, "Ngozika and the Magic Water Pot" was crafted and not prompted.
Crafting and prompting AI films involves combining structured text generation (like Claude or GPT) with specialized video-generation tools (like Seedance, Luma, or Higgsfield) to maintain character and scene consistency.
Core AI Filmmaking Workflow
Concept and Scripting: Write your baseline logline or narrative idea, then use an assistant like Claude to break the concept down into a structured script, scene list, or shot-by-shot prompts.
Visual Anchors and Character Sheets: Generate reference images or character turnaround sheets first using tools like Nano Banana Pro or Ltx Studio to lock in faces, wardrobe, and distinct visual styles before animating.
Prompt Engineering by Category:
Structure prompts with explicit cinematic terminology—specifying camera lenses (e.g., 35mm T1.4), specific lighting setups, framing angles, and precise motion rather than vague descriptions.
Generation and Iteration: Feed reference character IDs and storyboard frames into video models (such as Higgsfield or Luma Dream Machine) to generate short clips, using start and end frames to control pacing.
Editing and Audio: Export your clips into a traditional non-linear editor like Da Vinci Resolve, and layer in voiceovers, background tracks, and sound effects using platforms like ElevenLabs.
Crafted AI films rely on a structured pre-production workflow, whereas prompted AI films rely on direct text generation.
Prompted AI Films
Direct generation: You type a text command into an AI video generator and let the model create the scene instantly.
Speed: Fast and useful for quick tests, concepts, or abstract clips.
Drawbacks: Often results in inconsistent characters, shifting backgrounds, and a disconnected narrative feel.
Crafted AI Films
Structured workflow: You plan the story, script, and visual style before generating any video.
Asset control: You create specific character sheets and location references to keep appearances uniform across every shot.
Post-production: You edit clips together in software like Da Vinci Resolve or CapCut to fix errors and add synchronized sound.
To make a full story-driven AI movie, you must use the crafted approach. Direct prompting alone will cause your characters, lighting, and backgrounds to change completely from shot to shot.
Building a coherent feature or short film requires a structured, multi-step production pipeline.
1. Scripting & Visual Planning
Write a tight script: Use tools like ChatGPT or Claude to format a standard screenplay.
Generate a storyboard: Create consecutive image references for every single scene.
Build image-to-video assets: Always use an image as your video starting point, rather than just text, to maintain control over composition.
2. Consistency Framework (The "Crafted" Core)
Character seeds: Generate a master portrait of your character from multiple angles using image generators like Midjourney.
Consistent reference (Cref): Use character reference parameters to lock in facial features across different scenes.
Style sheets: Save specific prompt modifiers (e.g., "35mm anamorphic lens, moody cyberpunk lighting, muted color palette") to apply to every background image.
3. Video Generation & Movement
Animate the stills: Feed your consistent master images into video engines like Runway Gen-3, Luma Dream Machine, or Sora.
Keep camera motion subtle: Large camera movements cause AI video to warp and distort. Stick to pans, tilts, and slow zooms.
Upscale key shots: Use video enhancers like Topaz Labs Video AI to clean up low-resolution artifacts before editing.
4. Audio & Post-Production
Voice cloning: Use ElevenLabs to generate consistent, emotionally expressive character dialogue.
Sound design: Layer background ambiances, foley (footsteps, clothing rustle), and cinematic music tracks in an editor.
Traditional editing: Piece your clips together in DaVinci Resolve or Adobe Premiere. Use color grading to blend different AI generations into a unified visual look.
Step-by-Step Production Roadmap
Here is a complete project blueprint to guide you from concept to final render. You can download this checklist to track your progress:
Here is your file: ai_movie_production_roadmap.md.
Phase 1: Pre-Production: Scripting, character design, and style guiding.
Phase 2: Asset Generation: Generating consistent images and animating them into video clips.
Phase 3: Audio & Editing: Dialogue creation, sound layering, pacing, and color grading.
(Note: The blueprint has been successfully.
To create a historical epic with AI, you biggest challenge is historical accuracy and scale. AI video models easily mix up eras, clothing styles, and architecture. You must use precise visual terminology to force the AI to maintain a grounded, big-budget cinematic look.
Here is your production kit for a historical epic.
1. Visual Style & Cinematic Prompts
Lenses selection:
Use terms like "Panavision anamorphic lenses" or "70mm IMAX format" to get wide, sweeping epic framing.
Lighting style: Use "Chiaroscuro lighting", "natural golden hour sunlight", or "flickering torchlight" to mimic period films like Gladiator or The King.
Color grading: Specify color palettes such as "muted earth tones, deep crimson accents, and desaturated blues" to avoid a cheap, oversaturated digital look.
2. Crafting Massive Scale (Battles & Cities)
Crowd generation: Avoid asking for "thousands of soldiers marching." AI will warp the faces and bodies. Instead, prompt for a "low-angle wide shot of an army encampment, hundreds of tents, smoke rising, silhouettes".
Environmental plates: Establish your setting first. Prompt for "wide aerial drone shot of ancient Roman marble colosseum, pristine condition, 1st century AD, dusty atmosphere".
The "Fog of War" trick: Add "heavy atmospheric haze, dust particles floating, dense smoke" to your prompts. This hides AI background glitches and enhances the epic mood.
3. Maintaining Historical Accuracy
Specify materials: Do not just say "armor" or "dress." Say "weathered iron lorica segmentata armor with leather straps" or "coarse linen tunic with gold embroidery".
Architectural cues: Detail the textures. Use terms like "eroded limestone pillars", "rough-hewn wooden palisades", or "cracked cobblestone streets".
Avoid modern buzzwords: Never use words like "photorealistic" or "hyperrealistic." Use historical references instead: "historical oil painting texture, gritty realism, 35mm film grain".
4. Audio Architecture
Orchestral weight: Use AI music tools like Udio or Suno to generate a "slow, swelling orchestral brass theme with heavy taiko drums and driving cellos".
Soundscapes: Layer continuous background audio. You will need tracks of "distant clashing iron, horse whinnies, heavy wind gusts, and crackling campfires" to sell the environment.
Historical Epic Prompt Templates
Copy and paste these master formulas into your image generator (like Midjourney or Flux) before animating them:
text
[Character Close-Up]
Cinematic medium close-up of a battle-weary 14th-century knight, mud splattered on face, deeply detailed eyes reflecting campfire light, dented steel chainmail armor. Shot on 70mm lens, film grain, historical realism, dark moody atmosphere --ar 16:9
Use code with caution.
text
[The Wide Establishing Shot]
An Establishing wide shot of an ancient mountain fortress at sunrise, stone towers cutting through thick low-hanging fog, torchlight flickering on the ramparts. Epic scale, cinematic lighting, 8k resolution, historical drama aesthetic --ar 16:9
Use code with caution.
In filmmaking, a color palette is a strategic selection of primary and secondary colors used to establish mood, convey emotion, and guide the audience's subconscious experience. It unifies the visual language of a project, shaping how viewers perceive the story even before characters speak.
Common Color Schemes
Directors rely on specific arrangements to create visual harmony or deliberate tension.
Complementary:
Uses colors opposite each other on the color wheel (e.g., orange and teal) to generate intense visual contrast and drama.
Analogous:
Uses colors sitting next to each other on the color wheel to create a natural, harmonious, and often whimsical or peaceful feel.
Monochromatic:
Relies on various shades and tints of a single hue (e.g., the aggressive green in The Matrix) to construct a highly specific, immersive atmosphere.
Creating a consistent look is a collaborative process that unfolds in three main stages: Production Design:
The art department curates the physical set, including wall paints, furniture, and props, to limit or emphasize specific tones.
Costume Design:
Character attire is carefully selected so they either naturally blend into their environment or stand out to highlight their emotional state.
Lighting and Color Grading: Cinematographers use specialized lighting gels or tunable LEDs to set the scene's color temperature.
In post-production, a colorist uses editing software to balance and stylize the red, green, and blue (RGB) values across the entire film.
Psychological Impact Colors subconsciously communicate underlying themes and character arcs. While meanings vary, they frequently align with these common associations:
Red:
Signifies passion, aggression, danger, or intense love.
Blue:
Evokes calm, tranquility, coldness, or isolation.
Green:
Suggests nature, renewal, but can also denote decay, corruption, or jealousy.
Yellow:
Represents joy and optimism, but can quickly pivot to signal madness, insecurity, or sickness.
See
Color Palettes From Famous Movies Show How Colors Set The Mood Of A Film
Nollywood Has Gone Global: Nigerian Filmmakers Must Think and Work Globally
Nollywood has gone global.
We must think and work globally in content and context of telling and sharing our stories in the universal medium of filmmaking for the global audience.
Nigerian filmmakers cannot compete with the best in the world if they continue to think locally and compete locally for the local box office and going over the moon for grossing less than US$2 million for the first time in the 100 years of filmmaking in Nigeria since 1926 to 2026 when South African filmmakers have made films grossing over US$200 in the international box office.
The 2009, sci-fi film "District 9" that grossed US$210.8 million was made by South African-born Canadian film director and screenwriter, Neill Blomkamp and was shot in South Africa; The Gods Must Be Crazy (1980) made more than US$100 million; Adventures in Zambezia ($34.4M); Khumba ($28.4M);Tsotsi ($12M) and Sarafina! ($7.3M). A new film, David (2025), a South African animated film produced by Sunrise Productions, has grossed over US$83.6 million worldwide as of February 6, 2026.
The Nigerian film industry should be inspired by the outstanding success stories of the film industry of South Africa.
South African filmmakers think and work globally with the best in the world.
You cannot see the big picture if you continue to gaze at the miniature of the tableaux.
- EKENYERENGOZI Michael CHIMA. Publisher/Editor, NOLLYWOOD MIRROR® Series, the first book series on Nollywood and the Nigerian film industry.
The Road To Mountain of Fire and Miracles Church in Onike in Lagos
A scene from the first phase of the principal photography of my on going documentary film, "Lagos in Motion" in 2016.
The camera is the narrator of the documentary on the sights and sounds of the largest megacity in Africa.
I have shot more than 40 hours so far and now on the final phase to complete the production.
I have not borrowed and have not applied for any funds for the production since 2016 to date.
I have spent my personal incomes and I have paid my crew and all the young tourists featured in the documentary film, including Nollywood actresses, Nunnsi Ojong, Celina Ideh and campus beauty queen, Franca Aide who are graduates of the University of Calabar in Cross River State; fast rising actress, Magdalena Masha and model Cynthia Agu who is now in Poland. My black and beautiful production assistant, Chibuzor Okoro, my younger brother, Franklin UcheChukwu Eke, my friend, Tony Godson Uche Okeke and my production manager, Felix Omokagbo Jegede featured in the documentary film.
The principal cameraman Adesina Mutiu-Okediran used Sony FS 100 and I also used my own Sony digital camera for some of the shots. I shot this scene alone.
Del-York Group Partners with Tribeca Festival to Present the African Film Spotlight, Supported by Afreximbank, Bank of Industry, and UN Women
New York, NY – June 2025.
Del-York Group proudly announces its partnership with the world-renowned Tribeca Festival to unveil the African Film Spotlight a premier platform that champions Africa’s cinematic storytelling, cultural ingenuity, and creative potential on the global stage. This groundbreaking initiative is supported by Afreximbank, through its creative arm CANEX Creations Inc., and co-sponsored by Bank of Industry (Nigeria) and UN Women.
Staged during the 2025 Tribeca Festival in New York City, the African Film Spotlight was themed “Cross-Continental Collaboration & The Power of Partnership.” The event convened Africa’s most dynamic filmmakers, producers, financiers, and cultural policymakers for robust engagements designed to accelerate investment, stimulate co-productions, and position African cinema as a commercially viable and globally relevant force.
Leading the initiative on behalf of Del-York was Stephanie Linus, celebrated actress, director, and cultural ambassador, who emphasized the platform’s mission to unlock bold new narratives and deepen international creative ties.
“The African Film Spotlight is a catalyst to reshape Africa’s global creative footprint and fuel enduring, cross-border partnerships,” said Linus.
Adding to the impact of this year’s Tribeca activation was the presence of CANEX Creations Inc., the newly established Afreximbank subsidiary dedicated to investing in Africa’s creative and cultural industries. At the heart of the festival, CANEX hosted a high-level Deal Room, where dozens of African filmmakers pitched their projects for funding. This landmark engagement reflects Afreximbank’s firm commitment to pipeline financing for African films and content-driven IPs with global potential.
Del-York Group, recognized as a vanguard in Africa’s creative renaissance, is also notably involved in the Kebulania Lagos State Film City Project a transformative infrastructure and talent development initiative in Epe, Lagos, spearheaded in partnership with the Lagos State Government. This strategic alignment between local development and international exhibition exemplifies Del-York’s holistic approach to ecosystem building spanning production infrastructure, policy alignment, global promotion, and capital mobilization.
This historic collaboration at Tribeca not only amplifies African storytelling but also cements the growing recognition of Africa’s creative economy as a frontier for investment, innovation, and soft power diplomacy.
For media inquiries, interviews, or partnership opportunities, please contact:
In documentary film production on people, places and other subjects,
I prefer observational documentary style, because to me it is best to let the people involved to tell their stories; to show us their lives, societies and treasures without anyone giving a guided tour with a microphone or interviews along the way.
The people are the best narrators of the narratives of their lives and living conditions and habitations in different perspectives.
Don't speak for them or tell us about them when they can speak for themselves and tell us about their lives.
I want to hear: *we are.." and not *they are"; "I am" and not "he is" or "she is".
A documentary film is not a news report.
I mean reporting about a person, event or incident is not a documentary film.
Michael Moore, the famous Academy Award winning American documentary filmmaker said it is best to produce a documentary film like a true life movie.
In the production of my first attempt in documentary filmmaking, "Lagos in Motion", there was no narrator.
The camera was the storyteller; showing us the different places in Lagos, the largest megacity in Africa with the people in the city going about from place to place.
The "Reading in Motion" scenes show young Lagosians, Cynthia Agu and Celina Ideh reading novels by Bisi Daniels inside the car whilst on the road in Lagos city.
In the cinematic scene of "reading in motion", there was no soundtrack.
I simply showed the young Nigerian actress, Celina Ideh reading a book, the novel titled "Conspiracy of Lagos" by Bisi Daniels whilst sitting inside a car in motion on the road in the city.
It is like a scene in a movie.
- Ekenyerengozi Michael China
See "A Guide to the 6 Types of Documentaries"
Documentaries are a form of non-fiction film that attempts to document reality and capture the world as it is. They can vary drastically in the subject matter that is being portrayed as well as in the style that this subject matter is depicted. The different documentary styles were first laid out by Bill Nichols, a film critic, in 1991. Nichols characterized the types of documentaries as follows:
Content Development Strategy and Content Marketing Strategy for Film Production, Acquisition and Distribution for Nollywood
There is no film production without preproduction of which the most important components are research and development of the film project, script development and recce.
For example, I spent four years on the location for the script development of "Naked Beauty". I have completed the research and development during the recce on Bonny Island in Rivers State before the accomplished multiple awards winning Nollywood filmmaker and film studies scholar, Dr. Chika Christian Onu came to visit me where I was staying in the Residential Area 1 of the Nigeria LNG Limited. And we coauthored the screenplay which I published the book as a case study for screenwriting for film production in Nigeria. It was printed in Raleigh, North Carolina, United States of America.
The content development included development of the principal characters in the drama based on the people in Agaja village on Bonny Island.
Research and development of the screenplay comes first in preproduction of a film for television or the cinema.
What is Content Development Strategy?
Research on the kind of content you want to produce; the genre and the target audience.
Whether it is a movie, documentary or music video.
What kind of content will attract your target audience.
Your target audience should decide the kind of content you want to produce.
Do surveys for the needs assessment of your target audience.
What kind of entertainment they want.
Your content must connect with the target audience.
You cannot communicate with someone you cannot connect to or with.
There is no communication without connection.
You have to speak to the target audience in their own means of communication; in their most common language.
This is when you have to use content localization for the best interests of your target audience wherever they are located.
The details of the rest are common knowledge of the culture and haute couture of the target audience.
Beware of tribal and religious taboos.
Appreciate and respect the peculiarities of the personalities of the target audience.
Don't provoke them with what you have written in the screenplay as shown on the screen.
Common sense is enough to know that you don't show people eating pork with relish to Muslims.
Avoid heresy.
You have to produce what appeals to them.
Your story and the characters must have characteristics they are familiar with; people they can relate with in their society.
Your content must resonate with them on their lives and lifestyles in the events and incidents in the story.
A good filmmaker should be a good storyteller.
The success of storytelling depends on planning.
You must have a plan.
What's the subject on?
What is the purpose?
The conclusion and resolution of conflict in your story.
Planning is like weaving in cloth making.
You must know how to spin your yarn so that you don't spin your wheels in the long run.
Content Marketing Strategy
You must have a content marketing strategy.
The most successful filmmaker in Nollywood, Funke Akindele is the best case study in both content development strategy and content marketing strategy in the Nigerian film industry.
Funke Akindele
Funke's comic character of "Jenifa" was based on research and development of the personality of the semi literate Yoruba village girl who speaks her own peculiar form of Pidgin English in both coherent and incoherent speech. She is an impressionable and vulnerable naive young woman who is desperate to improve her life no matter the odds against her in the boisterous city of Lagos in order to get a proper education to fulfill her ambition in the highly competitive Nigerian society.
From the making of the iconic comic character of "Jenifa" for the cinema to the TV series of "Jenifa's Diary" and to the making of her Nollywood Blockbuster, "A Tribe Called Judah" (partly based on the true life experiences of her mother), Funke Akindele has shown the successful route of content development strategy and content marketing strategy.
She is currently the highest grossing filmmaker in the Nigerian film industry with a total Gross of over ₦2.9 billion from the box office.
I told my younger sister who is one of the millions of her fans, that I can commission Funke Akindele to produce my proposed romantic comedy, "Omo Naija in London" and be rest assured of the box office success.
- By Ekenyerengozi Michael Chima,
The Publisher/Editor,
NOLLYWOOD MIRROR® Series,
The first book series on Nollywood and the Nigerian film industry.
"IWAJU" is A Complete Masterpiece in Original Storytelling and Animation
“Iwájú” will air* across Africa on Disney Channel—distributed on DStv platform (Channel 303)—this April and May, giving viewers across the continent an opportunity to view the series in territories where Disney+ is not available. “We created ‘Iwájú’ as a love letter to Lagos, Nigeria, and an ode to the rich legacy of African storytelling,” said Director Olufikayo Ziki Adeola. “We’re proud to share this series and hope that it inspires more Africans across the world to share their stories and shape our collective narrative.”
“We created ‘Iwájú’ as a love letter to Lagos, Nigeria, and an ode to the rich legacy of African storytelling,” said Director Olufikayo Ziki Adeola. “We’re proud to share this series and hope that it inspires more Africans across the world to share their stories and shape our collective narrative.”
Says Christine Service, Senior Vice President and General Manager of The Walt Disney Company Africa: “‘Iwájú’ is a true celebration of the creativity and storytelling excellence that is at the heart of Disney, bringing the immense talent and creative vision of home-grown filmmakers to the world. With the distribution of the series on Disney Channel, the release of the ‘Disney Iwájú: Rising Chef” mobile game and the “Iwaju” Original Soundtrack Score, we are excited to give audiences across Africa the chance to experience this ambitious and uniquely innovative series.”
A first-of-its-kind collaboration with Pan-African entertainment company, Kugali, “Iwájú” is an original animated series set in a futuristic Lagos and tells the exciting coming-of-age story of Tola, a young girl from the wealthy island, and her best friend, Kole, a self-taught tech expert, as they discover the secrets and dangers hidden in their different worlds. “Iwájú” streamed exclusively on Disney+ Feb. 28, 2024, in a six-episode event.
The Beauty of Shared Arts Premieres on CCTV-1, Telling Stories of Exchange and Mutual Learning Under the Belt and Road Initiative (BRI)
The Beauty of Shared Arts premiered on October 5 at about 8:00 PM on CCTV-1 and was simultaneously broadcast on online media platforms such as Yangshipin.cn and CCTV.com
BEIJING, China, October 6, 2023/ -- Amidst the 10th anniversary of the Belt and Road Initiative (BRI), China Media Group (CMG) and the Ministry of Culture and Tourism of China jointly produced The Beauty of Shared Arts, a grand TV program focusing on international cultural exchanges, to showcase the charm of diverse cultures and promote their exchanges. Themed around the Cultural Silk Road, this program welcomes guests from BRI members and offers a panoramic view of cultural interplay, open collaboration, and interaction among diverse cultures through the BRI. Featuring artists in China and beyond, The Beauty of Shared Arts presents viewers with refreshing contents, including singing, dancing, theatrical performances, and acrobatics to showcase the profound fusion of different cultures, as the BRI builds a modern Silk Road for the shared benefit of countries around the world. The program premiered on October 5 at about 8:00 PM on CCTV-1 (https://www.CCTV.com/) and was simultaneously broadcast on online media platforms such as Yangshipin.cn and CCTV.com.
With concerted efforts from member countries, the BRI has yielded fruitful results over the past decade, as it has promoted public well-being and fostered cultural dialogues among BRI members. Following the initiative’s footsteps, The Beauty of Shared Arts shot VCRs and held interviews around the world to fully capture the BRI’s vision: We advocate respect for the diversity of civilizations, the common values of humanity, the importance of inheritance and innovation of civilizations, and robust international people-to-people exchanges and cooperation.
In one episode, the program introduced viewers to the touching mentorship between Chinese train conductor Dai Rui and her Laotian counterpart Tong Kangmi on the China-Laos railway. During the episode, the two conductors sang One Belt One Road, together with Laotian singer Atisal Ratana and Hong Kong actor/singer WONG Cho-lam. The BRI has not only connected economies but also created closer ties between people from different nations. Upcoming episodes of the program will also feature guests from African BRI members. Through the program, viewers feel the emotional side of the BRI, as they witness the similarities, mutual understanding, and friendship between different cultures.
From the story of joint BRI contribution to the artistic performances on stage, The Beauty of Shared Arts transcends national boundaries to present direct dialogues between different cultures and arts. For instance, through their shared love for the blue and white porcelain, Director of the Jingdezhen Imperial Kiln Institute WANG Yanjun and famous Turkish artist Adil Can Güven struck an immediate connection on the program. Through innovative stage collaboration between the Turkish Fire of Anatolia Dance Troupe and Chinese dancers for the New Blue and White Porcelain, the program vividly illustrated the artistic charm of the distinct yet harmonious cultures of China and Türkiye, generating fresh cultural dynamics through mutual exchange.
The program offers many other highlights: Serbian singer Slobodan Trkulja and Chinese singer SHA Baoliang creatively adapted the classic song Bella Ciao/Goodbye My Friends; celebrated pianist LANG Lang engaged in a musical dialogue with Kazakh singer Dimash Kudaibergen on the same stage. Through the program, touching stories are seamlessly incorporated into various art forms, including music, dance, and visual aesthetics, to create a series of impressive artistic feasts.
The Beauty of Shared Arts, broadcast on CCTV-1, invites all viewers to witness the evolution of the BRI, an epic story of our times.
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