The China Pavilion has set up shop in the middle of this year’s Hong Kong Filmart for the third year running as it aims to share the story of the evolution of the country’s film industry.
Organizers the China Film Co-production Corporation (CFCC) have brought data with them, they say reflects that there are more international hits coming out of China, while the demographics back home continue to expand in terms of content and of audience.
“We hope to fully present the latest performance of the Chinese film industry through the China Film Pavilion and promote exchanges and cooperation between Chinese and foreign film industries,” a CFCC spokesperson said.
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The past 12 months has seen several Chinese films go on wide international release, led by The Wandering Earth II, the sci-fi epic drawn from the world of acclaimed writer Liu Cixin. The Frant Gwo-directed film was released simultaneously in eight countries — the U.S., Canada, U.K., Ireland, Australia, New Zealand, Malaysia, and Singapore — on its way to runs in 42 countries across the course of the year.
No doubt inspired by The Wandering Earth II’s global take of more than RMB 100 million ($14 million), productions including the crime drama Trending Topic and the star-studded thriller The Goldfinger also opted for simultaneous global releases.
The potential for international co-productions with China is also being touted inside the China Pavilion, with the CMC Picture-Warner Bros actioner Meg 2: The Trench and its $398 million gross taking pride of place. “In the future, the China Film Pavilion will continue to recommend more outstanding Chinese film companies and quality films to the international market, launch various themed activities, and engage in face-to-face industry exchanges to connect with high-quality resources and promote more cooperation,” the CFCC spokesperson said.
Back home, the Chinese industry has been bullish about its recovery from the pandemic years, with reports of record box office and admissions numbers over the 2024 Spring Festival season of RMB 8.016 billion ($112 million) and 163 million, respectively. Figures supplied by CFCC suggest there was an 83 percent box office revenue increase across China’s first post-pandemic year, or a total collect of RMB 54.915 billion ($7.7 billion) in real terms.
There were 971 films produced in China last year, including 792 feature films, and 11 films that took in more than RMB 1 billion ($140 million), according to the CFCC.
There were also specific developments in terms of the genres of film being produced in China, and the tastes and the make-up of the audiences who watch them.
“With the improving cultural literacy, life taste, and aesthetic standards of Chinese audiences, comedy, science fiction, suspense, romance, animation, and other genres of films have gained popularity in the market,” the CFCC said in a separate statement.
The rise of the Chinese art house cinema circuit has been another feature of the past 12 months.
The Nationwide Alliance of Arthouse Cinemas (NAAC) — which bills itself as “the largest platform for art films promotion in China” — now owns “3,484 franchised cinemas in 330 cities nationwide, covering 4226 screens”, according to official figures. NAAC has in recent times featured international hits like Memoria, A Man Called Otto, and The Son across its cinema chain.
“There are also films from various countries that are screened across China through thematic film exhibitions and art film screening programs, fully demonstrating the important role of films in international exchanges and people-to-people bonds,” said the CFCC statement.
The China Pavilion has showcased 160 films at Filmart, including Spring Festival hits like the Andy Lau-starring industry comedy The Movie Emperor and the recently released If You Are the One 3, box office champion Feng Xiaogang’s long-awaited third edition to his hit rom-com series.
There have also been 47 film companies presenting their services to international filmmakers and sales agents. “China has many wonderful stories to present to audiences worldwide, and Chinese filmmakers are also striving to take a central place on the global stage,” the CFCC spokesperson said.
China has also increased the number of cinemas serving its ever-growing audience. There are now 86,310 screens in 14,395 cinemas — a net increase of 2,312 screens, according to CFCC — with the expansion outside the country’s major cities continuing at a rapid rate.
“The increasingly rational distribution of cinemas has shrunk the gap between urban and rural areas, making it more convenient for township residents to go for movies,” the CFCC statement reported.
Another trend to emerge from the Chinese market has been the rise of “her story” productions aimed at the nation’s rising female audience — with the CFCC reporting that China’s female audience accounted for 58 percent of ticket sales in 2023.
“With an open mindset, the Chinese film market in robust recovery is calling for quality films around the globe,” the CFCC report said. “Meanwhile, innovative Chinese filmmakers are also anticipating to deepen exchanges and cooperation with their international counterparts more openly and professionally, thereby presenting more outstanding films to audiences around the world.”
