Objectives. In the context of accelerating globalization and intensified international cultural exchanges, intercultural communication serves as a vital conduit fostering mutual understanding and respect among diverse societies, thereby promoting pluralistic symbiosis in global cultural development. In real life, language barriers and cultural differences between different countries often become huge stumbling blocks to cross-cultural communication, affecting the depth and breadth of cultural exchanges among countries. As a result, Chinese films have produced cultural discounts in the process of cross-cultural communication, and the communication effect has been greatly reduced. However, by conducting an in - depth analysis of film and television symbols, an innovative local reconstruction can be implemented to transform their presentation methods. This paper will discuss in depth the use of film and television symbols in Chinese films and their communication strategies. We explore the communication effects and optimization paths of Chinese films from a cross-cultural perspective, and predict the future development trend of Chinese films. At present, there is a bias in the understanding of the decoding of Chinese film symbols by audiences from different cultural backgrounds. Audiences can be influenced by their own cultural literacy and values, misinterpreting and misinterpreting the meaning of film symbols. At the same time, today’s Chinese films are not widely disseminated in the international film market, limited to traditional channels such as international film festivals and film markets. Therefore, Chinese films need to pay more attention to the innovation and localization transformation of film and television symbols under the cross-cultural perspective, and create a new direction for cross-cultural communication of Chinese films. Methods. A mixed-methods approach combined quantitative surveys (n = 200) and qualitative analysis. Data were collected globally via online platforms (social media, film forums) and offline channels (cinemas, universities), targeting diverse demographics (film lovers, students, scholars, overseas Chinese). Questionnaires measured audience perceptions of cultural adaptation, subtitle quality, and symbolic interpretation. Statistical analysis (t-tests) compared European/American vs. Asian audiences’ ratings, while thematic analysis of open-ended responses identified symbolic misinterpretation patterns. Key variables included cultural difference addressing, subtitle satisfaction, and decoding accuracy of visual/auditory/linguistic symbols. Results. The study found significant disparities between European/American and Asian audiences. Only 20% of European/American viewers rated Chinese films highly for addressing cultural differences compared to 40% of Asians, with 50% criticizing subtitle translation (vs. 30% Asians). Visual symbols like “red” were misread as conflict by 52% of Western viewers (18% Asians), while dialects and traditional music posed barriers for 68% and 62% of Europeans/Americans, respectively. Linguistic challenges, such as translating “filial piety,” led to semantic loss, reducing engagement. These gaps correlated with cultural dimension theories, highlighting struggles in decoding high-context symbols. Conclusions. After the study, the research on the analysis of film and television symbols and communication strategies under the cross-cultural perspective is of great significance in promoting cultural exchanges and enhancing international understanding and cooperation. Future research should continue to deepen the cross-cultural interpretation of film and television symbols, expand research methods, and focus on communication strategies in the new media environment. At the same time, we attach great importance to audience needs and feedback, and continue to improve and innovate, so as to more effectively promote the international dissemination and exchange of Chinese culture, and to enable the world to more deeply understand and appreciate China’s film and television art and cultural essence. At present, research on cross-cultural communication in Chinese films mainly focuses on the macro level, lacking in-depth analysis of specific film and television symbols and communication strategies. In addition, there are relatively few studies on the acceptance of Chinese films by audiences from different cultural backgrounds.