The term 'accessibility' refers to the 'ability to access', which has traditionally been associated with designing for people with disabilities. In recent years, research and development on accessibility have shifted the focus from 'disabilities' to 'diverse abilities', emphasising the criticality of equal access for everyone to social, cultural, political, and economic life. This includes physical and digital access to the same tools, services, organisations and facilities. Access is a fundamental necessity for respecting the human dignity of all (World Health Organization 2021). Film accessibility addresses the essential process of making a film fully accessible and inclusive. The conventional methods to achieve film accessibility include audio description (AD) for the blind and visually impaired audience, subtitling for the deaf and hard of hearing (SDH) and sign language interpreting (SLI) for the audience with hearing impairments. This special section addresses film accessibility by focusing exclusively on the audio description practice and research in the context of China.The history of AD in mainland China can be traced back to the early 2000s, when two volunteers established Xinmu Cinema (心目影院, Xinmu Yingyuan), a dedicated cinema for the blind and visually impaired audience in Beijing (Ma 2020, 18). In a mere 20 years, multiple audio description volunteer groups and service providers have been established in several cities. Among them, Bright Cinema (光明影院, Guangming Yingyuan), for example, has produced AD for more than four-hundred films, involving more than five-hundred volunteers in the past 5 years. 1 AD has been perceived as more than just a means of accessing entertainment but also valuable tool for learning and socialising (Tor-Carroggio 2021). Thanks to the rapid