New Cinematheque operator pledges dialogue amid criticism over tender process

The Cultural Affairs Bureau (IC) announced earlier last month that In Creative Entertainment and Culture Production Company Limited has won the two-year operating concession for Cinematheque·Passion, edging out the incumbent operator CUT Company, which will exit at the end of this month.

The award has drawn scrutiny from local cultural practitioners and observers over the tender’s evaluation criteria and the shortened contract term, with public criticism echoing concerns first raised six years ago when the same operator previously won the concession amid controversy.

The tender attracted three bidders, with In Creative Entertainment securing the concession with the lowest bid of MOP12.28 million, undercutting CUT Company’s offer of approximately MOP13.064 million by about MOP784,000, while the third bidder, BoardWare Intelligence Technology Limited, quoted MOP19.188 million.

The operating period has been reduced from three years to two years for the first time since the venue’s inception, raising questions among observers about whether a two-year cycle is sufficient to sustain long-term cultural development.

The authorities have not publicly explained the rationale behind the shortened term, nor have they addressed why the “price” component continues to account for 40% of the evaluation score – unchanged from six years ago, when the previous award sparked widespread backlash over the “lowest-price-wins” approach.

Under the scoring system, In Creative Entertainment attained full marks of 40 in pricing, while CUT Company scored 37.6 and BoardWare scored 25.6 – a margin of just 2.4 points between the winning bid and the incumbent. Local film professionals had raised concerns as early as 2020 over whether the value of an arts venue could be measured by the lowest bid, yet the government’s evaluation framework remains unaltered.

Additionally, the tender criteria do not include a scoring component for past operational performance, prompting questions about whether merely meeting contractual obligations on screening quotas and event frequency suffices as a benchmark for quality.

Publicly available documents only allow observers to deduce pricing scores, with other evaluation categories remaining undisclosed.

In the 2023 tender, the “three-year operational plan and first-12-month implementation plan” accounted for 40% of the score, but this year that category has been reduced to 35%, with the 5% reallocated to a newly added “local employment ratio” criterion – under which bidders with 81% to 100% local staff receive full marks. Critics question why the adjustment targeted the operational plan weighting rather than the contentious price component.

In response to the public scrutiny, In Creative Entertainment Operations manager Jenny Ip emphasized the team’s commitment to building on its experience alongside the local film community.

Reflecting on the company’s journey, Ip told the Times that the team has consistently worked with Macau’s filmmakers, having been involved in production and coordinating programs such as film production initiatives and film festivals, which gave them direct insight into the needs and aspirations of local directors.

Moving forward, she said the operator hopes to build on that foundation by creating a platform that fosters ongoing dialogue with directors and the broader industry, while also bridging Macau to international opportunities for further engagement and development.

To audiences, Ip said the company’s approach remains steady and open. Through the film platform it operates, the team aims to listen, gather feedback, and continuously refine its programming to better serve the community.

“We see communication as an ongoing process – one that helps us stay connected to the people we serve, and ensures we’re always moving in the right direction,” she told the Times.

Ip also highlighted Macau’s unique position as a natural bridge – geographically, culturally, and historically – and noted that being in the middle means being connected to many possibilities. She pointed to the growing international and regional attention that Macau directors have received over the past decade, describing that momentum as “real” and “growing.”

The company has collaborated closely with local filmmakers, she said, and has witnessed genuine interest in Macau from regional and international circuits including Singapore, Germany, Korea, and Canada.

“The conversations we’ve had with these partners feel optimistic. There’s a collective excitement about what Macau can bring to the table, and a shared willingness to explore possibilities together, especially in this changing time for the world,” she added.

Observing a shift in the landscape, Ip said filmmaking and industry development in Macau are evolving, and there are new possibilities worth exploring.

“We believe the Cinematheque can serve as a space to explore possibilities, facilitate conversations, and see what might be meaningful for Macau’s directors and the wider community,” she said. “Our approach is to stay engaged, stay curious, and take it step by step, to help drive development forward.”

Observers have noted that the 2020 award triggered significant public debate in Macau and neighboring regions, sparking a wider discussion on cultural policy direction.

Six years on, aside from a June 15 report by Portuguese-language newspaper Ponto Final, no Chinese-language media have covered the latest result – nearly a month after the announcement. The arts community and film professionals have remained largely silent, with no external input from regional practitioners as seen previously.

Critics suggest the public may remain unaware of the development, pointing to the absence of independent media in Macau and the lack of coverage by traditional Chinese-language outlets as indicators of a breakdown in public communication channels.

Neither the IC nor the new concessionaire has indicated whether the operator’s previous performance record – which observers note has not resulted in a contract renewal in the past – will be formally reviewed or disclosed.