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  1. #1
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    $21.5m

    China Box Office: 'Godzilla vs. Kong' Roars With $21.5M Friday
    6:34 AM PDT 3/26/2021 by Patrick Brzeski

    Courtesy of Warner Bros. Pictures

    The monster sequel is pacing slightly ahead of its predecessor 'Godzilla: King of the Monsters,' which earned $20.9 million on its first day in 2019, before finishing the weekend with $70.6 million.
    Warner Bros. and Legendary Entertainment's Godzilla vs. Kong is off to a stomping start at China's huge theatrical box office.

    The Adam Wingard-directed monster sequel pulled in $21.5 million Friday, according to Legendary. The new film is pacing slightly ahead of its predecessor Godzilla: King of the Monsters, which Artisan Gateway data shows earned $20.9 million on its first day in 2019, before finishing the weekend with $70.6 million.

    Local word of mouth for Godzilla vs. Kong is currently looking strong, with the film scoring 9/10 on ticketing apps Maoyan and Taopiaopiao, and 7.1 on reviews site Douban — solid numbers for a Hollywood tentpole. Based on current demand, Maoyan projects GVK to finish its run with approximately $166 million (the ticketing company's early forecasts are often revised considerably, however).

    The monster tentpole's biggest competition this weekend in China is the holdover Chinese New Year blockbuster Hi, Mom and James Cameron's rereleased Avatar. But GVK is easily dominating both screen share and earnings, taking 87.6 percent of Friday's total ticket sales so far, according to Maoyan, compared to about 2.8 percent a piece for Avatar and Hi, Mom.

    It's already abundantly clear, though, that the China market alone will give GVK claim to the biggest international theatrical debut of the pandemic era. Christopher Nolan's Tenet previously had the biggest offshore start of the past year with $53 million. Tenet finished its run in China with a respectable but unspectacular $66.9 million.

    In addition to China, GVK is opening in 38 other offshore markets this week, including sizable territories South Korea, Australia, Russia, Mexico, Taiwan, Indonesia and India, among others (the film doesn't open in Japan, home of Godzilla, until May).

    GVK is launching abroad ahead of its North American release, which will arrive day-and-date in theaters and on HBO Max on March 31.

    As advertised, GVK stars Godzilla and King Kong, with some supporting appearances by Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Kyle Chandler, Demian Bichir and others.

    The film is a co-production of Warners and Legendary. The latter, which is owned by Chinese conglomerate Dalian Wanda Group (which also owns China's biggest movie theater circuit), is marketing and distributing GVK directly in China, with Warners handling the rest of the world.

    More to come.

    PATRICK BRZESKI
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    Opening in Asia a month before the U.S.

    May 18, 2021 12:09pm PT
    Box Office: ‘F9’ Eyes Massive $150 Million-Plus Debut Overseas

    By Rebecca Rubin


    Giles Keyte/Universal
    “F9” could send the box office into overdrive when it debuts overseas this weekend.

    The latest entry in Universal’s high-octane franchise, which opens in Korea, Hong Kong, the Middle East, Russia and China in the coming days, is expected to bring in at least $150 million to $180 million at the international box office. Industry analysts are offering a wide range, which could balloon even higher, because it’s hard to track initial grosses in foreign markets even when the world isn’t rebounding from a pandemic. As different parts of the globe recover from COVID-19 at different paces, it’s especially challenging to forecast box office ticket sales.

    Outside of the U.S, where “F9” is scheduled to open on June 25, moviegoing has nearly returned to full strength. Asian markets, particularly China and Japan, have been a source of optimism after recently ushering in several blockbusters including “Hi Mom,” “Detective Chinatown 3” and “Demon Slayer: Mugen Train.” Hollywood movies, in post-pandemic times, have seen mixed results internationally.

    Among Hollywood films, the Warner Bros. movie “Godzilla vs. Kong” holds the record for the best opening overseas in the pandemic era. It debuted to $121 million from 38 foreign countries. Even if “F9” falls short of expectations, it should easily surpass that benchmark.

    “F9” was initially slated for last summer, but its release was delayed numerous times during the pandemic. A movie like “F9,” which cost $200 million to produce, is engineered for global audiences and requires outsize ticket sales to get out of the red. It would have been impossible to turn a profit if it were released any earlier, since the majority of movie theaters weren’t in operation. Globally, the nine “Fast” movies have earned more than $5 billion at the box office.

    The film will continue to roll out in 62 markets throughout the summer, including Australia (June 17), Latin America and the U.S. (June 25), and the United Kingdom, Spain, France and Germany in July.

    China will be a key territory for “F9.” That’s not just because the country has recently overtaken the U.S. as the world’s biggest movie market and has been less reliant on Hollywood fare to fuel attendance levels. In prior “Fast and Furious” installments, nearly 30% of global box office totals came from China alone. The most recent chapters in the main “Fast” saga, 2015’s “Furious 7” and 2017’s “The Fate of the Furious,” were enormous hits with each making roughly $390 million in China.

    In China, “F9” is currently pacing ahead of competitors in terms of presales and has already sold $10.5 million (RMB66.6 million) worth of tickets for opening day. More than 80.7% of the country’s movie theaters — accounting for roughly 154,000 screens — will be devoted to playing “F9.” Yet it remains to be seen if ticket sales can surpass (or even match) other “Fast” movies in the territory.

    Filmmaker Justin Lin, who directed four prior “Fast and Furious” movies,” returned for the series’ latest lap in theaters. “F9” stars Vin Diesel, Michelle Rodriguez, John Cena and Helen Mirren and follows Diesel’s Dominic Toretto and his family as they take on their fiercest foe yet — Dom’s brother. That journey somehow takes them to space.

    So far, “F9” has received mixed feedback. Variety’s chief film critic Owen Gleiberman says the film “gets stuck in franchise overdrive.” That’s saying something, considering the property’s increasingly loony stunts, which don’t even pretend to obey the laws of physics, have become its greatest marketing tool. Yet Gleiberman notes “it goes through the motions with more energy than intoxication.” IndieWire’s critic David Ehrlich gave the film a “C+” grade, but offered that “for the first time in a long time it feels like it’s drifting in the right direction again.”

    After more than a year of movie delays, audiences appear to be less bogged down by plot and more hypnotized by onscreen action when it comes to buying movie tickets. “Godzilla vs. Kong” and “Mortal Kombat” generated promising sales in the U.S. (while being offered simultaneously on HBO Max), though neither inspired notably strong reviews.

    Leading up to the release of “F9” in the States, Hollywood is planning to unveil a range of major titles including “Black Widow,” “A Quiet Place Part II” and “In the Heights.” For theater owners, who have gone months without much to show on the big screen, summer means one thing: it’s finally time to put the pedal to the metal.

    Becky Davis contributed to this report.
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    F9 $137 M in PRC

    May 23, 2021 9:45pm PT
    China Box Office: ‘F9’ Clocks up $137 Million in its Opening Lap


    By Patrick Frater


    Giles Keyte/Universal
    “F9” roared into the lead at the China box office, where the “Fast and Furious” franchise has repeatedly lapped faster than in North America.

    On its first weekend in China the film grossed $137 million, according to data from consultancy Artisan Gateway.

    That gave it an 83% share of the China weekend box office, a market share figure that was notably stable from its Friday lights out. Total box office in the country was $165 million between Friday and Sunday.

    Some $12.45 million of the “F9” total was earned from Imax screens in China. That was Imax’s third biggest May opening score (behind “Avengers: Infinity War” and “Avengers: Age of Ultron”) and Universal’s second-best China opening weekend in Imax venues behind “Fate of the Furious.” The giant screen provider calculates that earning 9% of the nationwide box office from just 1% of the screens showing the film, is a franchise-best result.

    The runaway win was achieved despite a mediocre critical reception in China. On the fan review site Douban “F9” earned only a 5.6 out of ten critical rating. On the more generous ticketing platforms Mtime and Taopiaopiao it earned only slightly better scores of 6.2 and 7.8, respectively.

    Artisan Gateway, nevertheless, calculates that the powerful performance was good for overall health of the theatrical economy. Its data shows that the year-to-date box office cumulative is now $3.86 billion, only 6.5% down on pre-COVID 2019. A week earlier, the gap had been 10%.

    Gritty Chinese romance, “Love Will Tear Us Apart” released a day earlier than “F9” on Thursday in order to coincide with (yet another) local Valentine’s Day. It earned $15.6 million on Thursday and a further $15.1 million between Friday and Sunday, good enough for second place in the local chart.

    Previous chart-topper, Zhang Yimou’s “Cliff Walkers” was edged into third place by the two new releases and earned $5.1 million over the weekend. That lifted its cumulative to $164 million since its pre-May Day release on April 30.

    Japanese film “Love Letter” was re-released on Thursday and managed $4.1 million over the weekend and $7.4 million over four days.

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    And people complain about getting banned on Facebook...

    May 26, 2021
    2:58 AM PDT
    Media & Telecom
    Fast & Furious star John Cena apologises for calling Taiwan a country
    Yew Lun Tian

    3 minute read

    Cast member John Cena poses at the premiere for "Ferdinand" in Los Angeles, California, U.S., December 10, 2017. REUTERS/Mario Anzuoni

    U.S. wrestling superstar and actor John Cena apologised to Chinese fans on Tuesday after calling Taiwan a country during an interview to promote his latest movie "Fast & Furious 9".

    Speaking to Taiwanese television TVBS earlier this month, 44-year-old Cena said Taiwan would be the first "country" to see the latest Fast and Furious.

    China regards Taiwan as its province, an assertion that most on the self-ruled, democratic island rejects.

    "I made one mistake. I am very, very sorry for this mistake," Cena said in Mandarin in a video posted on his account on Weibo, a Twitter-like microblog popular in China.

    "I love and respect China and the Chinese people," he added.

    Cena joins a long list of international celebrities who have incurred the wrath of an increasingly nationalistic Chinese public over their comments about Taiwan, Hong Kong or Xinjiang.

    Companies have also come under fire, with several airlines and hotels apologising to China in recent years for listing Taiwan as a country on their booking websites.

    Cena's apology was not enough for many mainland Chinese netizens.

    "Please use Mandarin to say Taiwan is part of China. Otherwise we won't accept the apology," read a comment left on Cena's apology video that received the most "likes".

    Neither did the apology go down well in the United States.

    "Can someone please help John Cena locate his spine, please?" wrote Matt Karolian, manager of American news website Boston.com, on Twitter.

    U.S. Senator Tom Cotton called the apology "pathetic" in a tweet.

    China's foreign ministry spokesman Zhao Lijian said in response that criticism of Cena in the United States did not make sense.

    Cotton's remarks were "just like waste paper," he added, speaking at a regular news conference in Beijing on Wednesday.

    Taiwan's Foreign Ministry declined to comment.

    The movie has been a box office hit in mainland China since its open on May 21.

    Over the last weekend, China accounted for $135 million of the movie's $162 million in revenue, according to U.S. entertainment publication Variety.
    ‘Late Show with Stephen Colbert’ Mocks John Cena’s Apology to China
    The movie star and former pro-wrestler started an international controversy for calling Taiwan a country and then walking the comment back.
    BY RYAN PARKER
    MAY 27, 2021 6:16AM

    John Cena
    John Cena attends 'Playing With Fire' New York Premiere at AMC Lincoln Square Theater on October 26, 2019 in New York City. JOHN LAMPARSKI/FILMMAGIC
    The Late Show with Stephen Colbert on Wednesday mocked John Cena’s recent apology to China after he called Taiwan a country.

    The movie star and former pro-wrestler started an international controversy after making the statement during a promotional interview for his upcoming film, F9 — then issuing an apology (in Mandarin) to China.

    “I made a mistake,” Cena said in his apology video issued Tuesday. “Now I have to say one thing which is very, very, very important: I love and respect China and Chinese people. I’m very sorry for my mistakes. Sorry. Sorry. I’m really sorry. You have to understand that I love and respect China and Chinese people.”

    The Late Show on Wednesday released the “full” apology video, mocking Cena’s decision. “Not only is Taiwan not a country, it is also not even a real place,” read the faux interruption of Cena’s words. “It’s like Zootopia, which coincidentally made $220 million in China.”

    Continued the faux interruption, “And don’t even get me started on Tibet! Always complaining, complaining, complaining about China. I will give Tibet something to complain about.” The video then cut to Cena bodyslamming a digital 14th Dalai Lama (“I call that a ‘Daili-Slam-A,” read the faux interruption).

    The Cena matter highlighted the fraught relationship between Hollywood and China. Entertainment industry figures, including professional sports players, have been criticized for comments perceived as political. And Hollywood studios have been criticized over claims that they shape content to avoid offending Chinese government censors.

    Watch the Late Show video below.

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    Our newest article - Free from KungFuMagazine.com

    Chollywood Risen. READ F9: THE FAST SAGA Cruising Back into Theaters by Gene Ching



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    Bw & prc

    Jul 9, 2021 4:35pm PT
    ‘Black Widow’s’ China Delay Rings Alarm Bells for Hollywood

    By Rebecca Davis


    Jay Maidment / Courtesy of Marvel Studios
    The U.S. film industry is heaving a sigh of relief that “Black Widow” is poised to become the highest grossing domestic debut of the post-pandemic era, marking America’s return to moviegoing in force.

    The Scarlett Johansson-starrer is projected to earn around $80 million in its North American opening weekend, beating out “F9” last month. It will also premiere in 46 overseas markets, bringing in an expected $50 million.

    China, however, isn’t on the roster.

    The picture for “Black Widow” is far from rosy in the world’s largest film market, where politics are proving once again to trump profit, and piracy may destroy its box office odds before it manages to reach Chinese shores.

    Although China’s censorship authorities approved “Black Widow” for release back in March, Marvel has yet to offer any indication of a release date for the key territory. (Hong Kong, meanwhile, was actually one of the first territories in the world to release it on July 7, thanks to its Asia time zone.)

    A belated China release could spell trouble. Disney Plus does not operate in China. When the streaming service released the film online for a $30 fee in other territories Friday, it unleashed an easily pirated, high-definition version of the film that reached Chinese consumers within hours.

    Popular on Variety
    “From today on, all kinds of pirated versions of ‘Black Widow’ will begin to spread rapidly,” one film blogger wrote in resignation. “Even if it is released theatrically later, this will undoubtedly have a significant impact on the box office.”

    As of Friday morning, Variety found scores of pirated videos and torrents already available on unauthorized Chinese file sharing and streaming sites, although their initial origins are unclear. On certain illegal sites powered by online gaming ads, many are available to stream for free without any registration or download procedures via a single click.

    Many pirated copies are listed as 1080p HD or 4K quality, or equipped with Dolby Atmos sound. Most come already outfitted with Chinese subtitles, which are often created by groups of fast-acting volunteers or fans before the official translation is released.

    On one of the major fan-generated subtitle websites, at least nine different versions of Chinese “Black Widow” subtitles were available on the front page alone. They can be downloaded separately to pair with different versions of the pirated film. The site declares that “subtitles are only used for language learning purposes; the copyright belongs to the film production.”

    The same piracy issue plagued Disney’s $200 million live-action “Mulan” in China, tanking hopes that the China-set retelling of a classic Chinese folk tale with an Asian cast would become a breakout hit there. It garnered a lackluster $23 million opening weekend and $41 million cume, albeit with significant capacity restrictions on cinemas due to COVID-19.

    Death Sentence for ‘Black Widow’ in China?
    From a purely economic point of view, China’s delay of surefire commercial hit “Black Widow” makes little sense, particularly since its box office has been on the downswing since June, when it hit a record monthly low.

    The country notched a number of box office records earlier this year off local holiday blockbuster hits, but rescheduled Hollywood tentpoles and a diminishing pool of moneymaking local productions have slowed business down. The film industry’s political obligations for July are slowing it further.

    Generally, Beijing tends to program Hollywood blockbusters sparingly in the key moviegoing month of July to carve out space for local productions. This year, its resistance to scheduling foreign films has been exacerbated by the critical 100th anniversary of the ruling Communist Party’s founding on July 1. The occasion has been accompanied by an ongoing, months-long period of militant censorship across all media that will last through the end of the month and likely into fall.

    With those factors in mind, local reports have long been predicting a death sentence for “Black Widow’s” China prospects.

    “The possibility of a simultaneous release is approaching zero. In this special [July] tribute month, even ‘main melody’ [propagandistic] movies like ‘Chinese Doctors’ are facing strict censorship, let alone Hollywood films,” a blogger wrote pessimistically in June.

    Beijing considers it politically paramount for the Party’s propaganda tribute films to reign over their competitors this month. Though the melodramatic titles were widely promoted, they have unsurprisingly not proved popular enough to drive Marvel-level ticket sales.

    China’s major July titles are the political history films “1921” and “The Pioneer,” which have grossed just $58 million (RMB376 million) and $15.4 million (RMB100 million) so far, respectively, since their July 1 debut. The most commercial blockbuster of the bunch is the Bona Film-backed pandemic blockbuster “Chinese Doctors.” It had a muted $14.4 million opening Friday, taking what would have been “Black Widow’s” slot had it opened day-and-date with the U.S. and emerging a poor substitute.

    Unverifiable local reports speculate the “Black Widow” may not release in China until mid-August, when there may be a sudden influx of Hollywood films that could end up cannibalizing each other’s box office.

    Disney did not respond to a request for comment on the movie’s release date circumstances or piracy concerns.

    Release Date Limbo
    The “Black Widow” situation highlights the growing challenges Hollywood is facing in the post-pandemic era, as Beijing and Washington view each other with growing suspicion and new digital distribution models upend decades-old practices.

    Increasingly, foreign films are finding themselves in release date limbo or unexpectedly pulled due to China’s ever-changing political winds and local programming priorities. (For instance, censors approved Pixar’s “Luca” in late May, but it has yet to set a debut.)

    When theatrical windows of at least three months were still observed, digital or Blu-ray releases did not heavily impact a film’s China box office, since imports are only allowed to play in Chinese theaters for one to two months anyway, no matter how successful.

    If Hollywood’s pandemic-era embrace of previously unthinkable modes of online distribution are here to stay, piracy will be a growing problem. It will become increasingly important for films seeking to guarantee the strongest possible China sales to release there before other territories or open simultaneously with their streaming debut.

    A growing number of tentpoles with guaranteed Chinese audiences have already taken this approach, such as “Avengers: Endgame,” which gave China a two-day head start on the U.S., or “F9,” which was prompted by the pandemic to premiere an unprecedented full month ahead of domestic.

    Locking in a China date has grown increasingly difficult as bureaucratic processes and priorities grow stricter and more opaque, meaning that companies may have to initiate censorship review processes even earlier.

    Warner Bros.’ “Dune” may avoid a “Black Widow”-esque conundrum. Had the film debuted Oct. 1 as originally planned, it would have run into China’s highly political National Day holiday that same day, when it would have been elbowed out of a day-and-date release and put off for perhaps the next two weeks in order to give new nationalistic blockbusters time to sell.

    Whether or not the decision to move it to Oct. 22 was intentionally made with the China market in mind, it bodes well.

    “Maintaining good relations to secure release dates, combatting piracy, and deploying strong tactics to shore up word of mouth will be the most critical tasks for Hollywood revenue-share films going forward, particularly for films planning to release simultaneous both in theaters and online,” a well-regarded local film industry outlet said. “Otherwise, more and more revenue-share films will repeat the mistakes of ‘Mulan’ and ‘Black Widow,’ bringing down Hollywood’s China profits.”
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    Still not in PRC

    Marvel's 'Shang-Chi' was made with China in mind. Here's why Beijing doesn't like it.
    "Shang-Chi and the Legend of the Ten Rings" is the latest movie to run into trouble in the country as nationalism and U.S.-China tensions rise.

    Simu Liu in "Shang-Chi and the Legend of the Ten Rings."Marvel Studios
    Oct. 3, 2021, 1:30 AM PDT
    By Rhea Mogul
    HONG KONG — David Tse recalls being overcome with pride as he walked out of a British movie theater after having watched "Shang-Chi and the Legend of the Ten Rings," Marvel's latest superhero film.

    "Our community has finally arrived in the West," Tse, a British Chinese actor and writer, said by telephone from Birmingham, England. "Every Chinese person around the world should be immensely proud of Shang-Chi."

    The film, Marvel's first with a predominantly Asian cast, has been a hit with global audiences, having earned more at U.S. theaters than any other movie during the coronavirus pandemic and grossed more than $366 million worldwide since it was released early last month.

    But despite its box office success and the overwhelmingly positive reaction of Asian communities worldwide, it isn't playing on a single screen in mainland China, which last year overtook North America as the world's biggest movie market. It's the latest film to run into trouble in the country as nationalism and U.S.-Chinese tensions rise.

    From the beginning, "Shang-Chi" was made with China in mind. Much of the film's dialogue is in Mandarin, and the cast includes some of Asian cinema's biggest names, including Michelle Yeoh and the Hong Kong superstar Tony Leung, making his Hollywood film debut.


    Marvel's first movie with a predominantly Asian cast has been a hit with global audiences. Courtesy of Marvel
    Simu Liu, a Chinese-born Canadian actor who also starred in the Netflix sitcom "Kim's Convenience," plays Shang-Chi, a reluctant martial arts warrior forced to confront his father. The film has been widely praised as a major step forward as Hollywood tries to improve representation of Asians and Asian Americans.

    "Finally we see a strong character that isn't stereotyped the way we have been for generations," Tse said. "Our young people are desperate for more of them."

    "Shang-Chi" hasn't gotten the same welcome in China, where movies are strictly censored and the number of foreign releases each year is limited. That hasn't stopped Marvel in the past — in 2019, "Avengers: Endgame" earned $629 million from mainland Chinese audiences, more than any other foreign film in history.

    Officials haven't said why "Shang-Chi" has no release date, and the propaganda department of China's ruling Communist Party, which regulates the country's film and TV industry, didn't respond to a request for comment.

    Experts point to the deterioration of U.S.-China relations, rising Chinese nationalism and the character's racist comic book past.

    Rife with stereotypes

    Marvel debuted the Shang-Chi character in 1973 amid growing American interest in martial arts movies. The early Shang-Chi comics were rife with stereotypes about Asians — the characters were portrayed in unnatural yellow tones. Shang-Chi's father, a power-hungry villain named Fu Manchu, has been criticized as a symbol of "yellow peril," a xenophobic ideology originating in the 19th century in which Asians, especially Chinese, were viewed as a threat to Western existence.

    Marvel Studios President Kevin Feige has emphasized that Fu Manchu is no longer a character in Marvel comics and that Shang-Chi's father in the film, played by Leung, is a completely different character named Xu Wenwu. But for some the connection persists.

    "Chinese audiences cannot accept a prejudiced character from 100 years ago is still appearing in a new Marvel film," the Beijing-based film critic Shi Wenxue told the Global Times, a state-backed nationalist tabloid.

    Liu, 32, who emigrated to Canada with his parents in the 1990s, has also drawn public ire over past comments critical of his country of birth.

    In a 2016 Twitter post, he described Chinese government censorship as "really immature and out of touch."

    The next year, in an interview with the Canadian Broadcasting Corp. that has since been taken down, Liu described China as a "third world" country where people were "dying of starvation" when he and his parents left. A screenshot of his comments has circulated on Weibo, a popular social networking platform in China, with one user commenting: "Then why does he play a Chinese character?"

    Michael Berry, director of the UCLA Center for Chinese Studies, said Liu's comments had been "taken out of context and politicized."

    "Once a cyberattack is waged against a film or individual in China, there are usually a series of talking points that are manufactured and then leveraged to take advantage of rising nationalist sentiment," he said.

    'Reclaiming our culture'

    The anger over Liu's comments echoes that of an earlier episode involving Chloé Zhao, the Beijing-born director of "Nomadland," who made history this year when she became the first woman of color to win the Academy Award for best director.

    "Nomadland" had been scheduled for a limited mainland release, but then a 2013 interview with Filmmaker magazine resurfaced in which Zhao described China as "a place where there are lies everywhere." She was targeted by online commenters who accused her of smearing the nation, and the film was never shown.

    "Eternals," a coming Marvel film directed by Zhao, could also be denied a release date in mainland China.

    Berry said the treatment of Liu and Zhao was a "great tragedy," describing them as China's "best hope for better cross-cultural understanding between China and the West."

    Many moviegoers elsewhere in the region have celebrated "Shang-Chi" for promoting that understanding.


    Officials have not said why "Shang-Chi" has no release date, and the propaganda department of China's ruling Communist Party, which regulates the country's film and TV industry, did not respond to a request for comment. Courtesy of Marvel
    Adrian Hong, 22, a student who has seen the movie twice in Hong Kong, which has its own film regulator, said it spoke volumes about the "beauty and grace of Chinese culture."

    "The beauty of martial art, the concept of yin and yang, the incredible mythical creatures all add to the film," he said.

    Some commenters on Weibo have also questioned the mainland government's apparent decision not to show the film.

    "Why do some people say 'Shang-Chi' offends China?" one user asked. "The movie doesn't offend China, but promotes traditional Chinese culture instead."

    For Tse, the actor and writer, "Shang-Chi" is all the more important because of the rampant anti-Asian racism, discrimination and violence unleashed by the pandemic.

    "This is a pushback for all the Asian hate crimes against us. It's an answer to all the bigots who have been against us for decades," he said. "'Shang-Chi' is us reclaiming our culture. It says globally, culturally, this is a new tide of history."

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    Battle bests Bond

    China’s ‘Battle at Lake Changjin’ beats James Bond at box office with $203 million
    “No Time to Die,” the latest movie in the James Bond franchise, made $119 million at the global box office last weekend.

    Moviegoers arrive to watch “The Battle At Lake Changjin" on Saturday, in Wuhan, China.Getty Images
    Oct. 5, 2021, 2:30 AM PDT / Updated Oct. 5, 2021, 3:13 AM PDT
    By Variety
    China’s “The Battle at Lake Changjin” was the highest grossing film anywhere in the world over the past weekend, with a $203 million haul.

    That score was fractionally lower than the combined total earned by “No Time to Die” ($119 million in international markets) and by “Venom: Let There Be Carnage” ($90.2 million in North America).

    The film was the far away winner in mainland China, where it was released on Thursday, a day ahead of the October 1, National Day holiday. Over four days on release, it earned $234 million, according to consultancy Artisan Gateway.

    Additional data from local provider Ent Group showed that “Battle” enjoyed a massive 157,000 screenings per day and was watched by 25.5 million ticket buyers between Friday and Sunday.

    That put it ahead of “My Country, My Parents,” which earned $70.6 million over the weekend proper and a “Venom”-like $90.4 million total over four days.

    Both titles are examples of the patriotic triumphalism that has come to typify the Chinese box office since it re-opened, post pandemic in July last year, and both capitalize on the sentiment stirred up around the annual celebrations of the country’s birth, some 72 years ago.


    ‘The Battle at Lake Changjin’ was the highest grossing film anywhere in the world over the past weekend, with a $203 million haul.Getty Images
    “Changjin” earned $12.9 million of its total from Imax giant screens, making it the third biggest Imax opening weekend of all time behind sci-fi title “The Wandering Earth” and Chinese New Year comedy “Detective Chinatown 3.”

    Made with a production budget reported to be over $200 million, the film boasts three of Greater China’s top directors: Chen Kaige, Tsui Hark and Dante Lam.

    It is an epic war film praising the triumphs of Chinese soldiers fighting American-led United Nations forces in the early days of the Korean War (1950-1953). China portrays its involvement in the war as an act of self-defense and one of support for North Korean leader Kim Il-sung. In Chinese, it is called the War to Resist U.S. Aggression and Aid Korea.

    The film was produced by Bona Film Group and stars Wu Jing, star and director of the blockbuster “Wolf Warrior” war films, and pop idol turned actor Jackson Yee. (Wu also stars in and is credited as one of four co-directors on “My Country, My Parents”.)

    In a very distant third place, Chinese-made animation “Dear Tutu: Operation T-Rex” earned $3.5 million over three days.

    Artisan Gateway shows the weekend aggregate to have been $295 million or some RMB1.9 billion.

    That advances the year-to-date box office in China to $5.31 billion, a figure that is 27 percent below the same point in pre-pandemic 2019. Over the seven day National Holiday period in 2019, box office takings reached RMB4.5 billion.
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    Changjin & Be Somebody

    Nov 21, 2021 11:10pm PT
    China Box Office: ‘Be Somebody’ Powers up Weekend as ‘Lake Changjin’ Is Poised for Record

    By Patrick Frater

    Maoyan Pictures
    Crime comedy film “Be Somebody” expanded its box office take by 20% in its second weekend of release in China and joined in a 49% surge in nationwide gross revenues.

    Nationwide box office climbed from $43.1 million in the previous weekend to $64.3 million between Friday and Sunday. For all that, China’s year to date box office haul is now 26% below that of pre-COVID 2019.

    Staying on top of the chart for a second session, “Be Somebody” earned $23.9 million over the weekend, according to data from Artisan Gateway. That gives it a 10-day total of $60.3 million.

    The movie directed by Liu Xunzi Mo is a send-up of crime drama tropes, making fun of the genre through the story of a group of filmmakers trying to please a wealthy patron by creating a sufficiently blood-thirsty crime thriller when things begin to go awry in the mansion where they are cloistered to work on the project. It stars Zheng Yin (“Goodbye Mr. Loser”), Deng Jiajia, Yu Entai, and Yang Haoyu (“The Wandering Earth”). It was produced by Maoyan Pictures.

    In second place with a strong $20.2 million opening weekend was “The Door Lock,” a suspense horror film about a woman living alone in a big city. Produced by Hengye Pictures, the film is a Chinese remake of a 2018 Korean film of the same title. The Korean film was itself a remake of a 2011 Spanish film “Sleep Tight,” but told from a different perspective. The Chinese retread stars Bai Baihe, Adam Fan (aka Fan Chengcheng) and Cici Wang.

    Third place over the weekend belonged to Chinese-made war film “Railway Heroes,” which earned $9.6 million over the weekend. Produced by Huayi Bros., the film is directed by Yang Feng (“The Coldest City”) and stars the evergreen Zhang Hanyu in a WWII tale of Chinese volunteers who band together to destroy Japanese military supply lines.

    The total for “Heroes” is modest compared with that of “The Battle at Lake Changjin,” the Korean War-set actioner that placed fourth over the weekend with an incremental take of $3.8 million. The weekend take lifts its mainland Chinese cumulative since Sept. 30 to $888 million. That score is now the biggest by any film this year, overtaking Chinese New Year breakout hit “Hi, Mom.”

    Local data sources, quoting box office in Chinese currency, also put “The Battle at Lake Changjin” within RMB3 million ($489,000) of the RMB5.689 billion achieved by China’s all-time, all-comers box office record holder “Wolf Warriors II” in 2017.
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    Chollywood rising

    Dec 13, 2021 3:50am PT
    China Box Office: ‘Schemes in Antiques’ Conspires to Hold Top Spot

    By Rebecca Davis

    "Schemes in Antiques"
    Chinese action-adventure title “Schemes in Antiques” conspired to hold its own at the top of the China box office with a $14.7 million second weekend, having opened first last week with a solid $25.6 million three-day debut.

    Originally set to premiere in April, the tale of intrigue around real and counterfeit artifacts from Hong Kong director Derek Kwok Chi-kin (“Wukong”) has now grossed $52 million (RMB331 million) of a projected $66.6 million, according to data from Maoyan. Produced by Hong Kong-based Emperor Motion Pictures, it stars fan favorite Ge You alongside Lei Jiayin, Li Xian, and Xin Zhilei.

    “Schemes” maneuvered ahead of second place comedic thriller “Be Somebody,” which grossed a further $9.85 million in its fifth weekend to bring its current cume up to $133 million.

    Once again this week, a new rom-com took third: a film whose Chinese name translates to “We Who Have Loved Before.” The tear-jerking first feature from newcomer Zhang Xiaolei grossed $3.55 million, far less than first and second place.

    That the top three films of the weekend look so very much like they did last week — the fresher “Schemes,” followed by “Be Somebody” and a $3 million debut of an innocuous, flash-in-the-pan rom-com trailing far behind — is an indication of how stagnant China’s release schedule is at the moment without new major blockbuster releases.

    Viewers were thirsty enough for new content that the upcoming animation “I Am What I Am” came in third off pre-sales, ahead of largely-exhausted war epic “The Battle at Lake Changjin,” which has been in theaters for 72 days since September. The former is set to release Dec. 17, but already grossed $2.33 million this weekend.

    Directed by Wuhan native Sun Haipeng (“Kung Food”), the boldly colored tale tells the story of a young boy and his rag-tag band of companions who dream of winning the country’s biggest lion dance competition with the help of a former star dancer.

    This week, “Battle” earned a further $1.44 million, bringing its cume up to $903 million.

    Meanwhile, “Oh! My Gran” — the first Korean film to be released in China in six years — continues to fare poorly, with hardly any allotted screenings (an average of 0.4% of total nationwide screenings each day). It has grossed just $394,000 (RMB2.5 million) so far since its Dec. 3. debut, and currently ranks outside the top 20 films at the box office.
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  11. #11
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    China risen

    This Year, Hollywood’s China Relationship Finally Unraveled
    It doesn’t matter how accommodating the industry may be — the next phase of the Xi Jinping era may be defined by less space for Western content.

    BY TATIANA SIEGEL, PATRICK BRZESKI
    DECEMBER 20, 2021 5:00AM

    THR ILLUSTRATION / ADOBE STOCK
    In 2014, when Warner Bros. drafted LeBron James to star in its Space Jam sequel, the film was tailored to appeal above all else to the mighty Chinese market. After all, James was a huge commodity in the basketball-obsessed country, where his signature Nike sneakers are made. Along the way, the future Hall of Famer avoided poking the China bear, even if it meant drawing outrage when he criticized Houston Rockets GM Daryl Morey in 2019 for tweeting his support for Hong Kong protesters, calling him “misinformed” — a notable move given James’ vocal stance on police brutality issues and former President Trump’s so-called Muslim travel ban. At the time, videos of police crackdowns on Hong Kong’s pro-Democracy movement were circulating widely while it was well reported that more than 1 million Uighur Muslims were being held in internment camps.

    Despite attempts to make it past China’s censors, Space Jam: A New Legacy never received a release in China this summer and scored just $162.8 million worldwide — a so-so figure even given the coronavirus pandemic. Still, Space Jam wasn’t alone. Disney received the same cold shoulder when it came to its Marvel tentpoles Shang-Chi and the Legend of the Ten Rings and The Eternals, films that were built around Chinese talent in order to make a giant showing in the market. But to no avail. Neither film was given a release in the country that continues to take heat for reported human rights abuses. Hollywood’s silence on those abuses has become deafening as other industries and entities have begun to confront China.

    In fact, 2021 — with its diminishing economic returns in the country — might mark the year that finally cooled the Hollywood-China romance. “I think we’re still feeling our way through that [new paradigm],” WarnerMedia Studios and Networks Group chair and CEO Ann Sarnoff told THR, in a wide-ranging interview in October, in regard to Space Jam and the dearth of Hollywood tentpoles getting a bow in China. “Obviously there’s been a lot of geopolitical meta issues happening with changes of our government and trying to figure out what the new relationship’s going to be with the Biden administration. China’s clearly building its own local theatrical business. The numbers are very large, and we would like to believe we’re going to be a big part of their future. But we’re honestly taking it one movie at a time. I’m not making any grand predictions because I don’t know, but it’s something we’re very, very aware of and front burner because when you do your ultimates and your green lights, China was a big chunk of it.”

    The reversal of fortunes in China has begun to accelerate in the past year. In 2021, just 25 U.S. movies were released theatrically in the country, many of which were minor indie titles instead of studio tentpoles. By contrast, some 45 Hollywood movies were shown on Chinese screens in 2019. That is forcing the major studios to pivot on their China ambitions, mostly because there is little to no growth to be attained in the country in the current climate. U.S.-China diplomatic relations simply have deteriorated to such an extent that it no longer matters how accommodatingly Hollywood comports itself in the market — the next phase of the Xi Jinping era is likely to be defined by less space for Western cultural content.

    Despite China’s success in keeping COVID-19 cases close to zero, the theatrical film market is still far from whole. As of Dec. 13, China’s total box office earnings in 2021 were $7.05 billion, down 26.2 percent from $9.56 billion during the same stretch in 2019. In the past, whenever multiplexes needed a sales boost, regulators would simply turn on the tap of Hollywood releases to juice sales, even if that meant releasing more than the 34 U.S. revenue-sharing titles Beijing was required to allow into the market under a past trade agreement. That hasn’t happened this year. Instead, bankable Hollywood titles have sat on the shelf because of perceived political slights or for no perceptible reason at all. Among them: Black Widow, Venom: Let There Be Carnage and, now, potentially, Spider-Man: No Way Home.

    At the same time, Hollywood has lost any semblance of a moral high ground. It has been lost on few that the industry remained mum when global superstar Fan Bingbing went missing in 2018 (including her agency, CAA). By contrast, the Women’s Tennis Association this month decided to pull all tournaments in China following a similar disappearance of tennis star Peng Shuai. (Some fear the Chinese doubles champion may be in some sort of detention after making allegations of sexual assault against a former Communist Party leader.)

    “As Hollywood’s risk-reward calculus for China starts to get muddier and muddier, there’s a move for an entity, whether it’s a celebrity, athlete or company, to essentially do what Muhammad Ali did, which is to take a direct hit, short-term, on revenue but longterm create a brand that’s bigger than what they were originally known for,” says Blockers producer Chris Fenton, whose 2020 book, Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, & American Business, explored the China minefield.

    Boston Celtics center Enes Kanter Freedom, for one, has seized that opportunity, blasting Xi for the country’s treatment of Muslims and calling out James for looking the other way. “Money over Morals for the ‘King,’” Kanter Freedom tweeted Nov. 18 before a Celtics-Lakers game. “Sad & disgusting how these athletes pretend they care about social justice. They really do ‘shut up & dribble’ when Big Boss says so. Did you educate yourself about the slave labor that made your shoes or is that not part of your research?” On Dec. 14, Kanter Freedom appeared on MSNBC wearing a T-shirt that read, “Taiwan is not China.” (China has banned Celtics broadcasts in the country.)

    Meanwhile, the planned U.S. diplomatic boycott of the Beijing Winter Olympics will only escalate China’s growing enmity toward U.S. culture. The question now remains whether Hollywood will continue to kowtow in the face of little financial upside. But Fenton insists that taking the China losses now will open new avenues of growth and expand fan bases. He adds, “Global consumers will prove that capitalism can coexist with doing the right thing.”

    This story first appeared in the Dec. 15 issue of The Hollywood Reporter magazine.
    Can't help but wonder how these films would've done with the PRC market, especially Shang-Chi.
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    $7.3B in 2021

    China Retains Global Box Office Crown With $7.3B in 2021, Down 26 Percent From 2019
    Chinese studios bounced back with force in their home market, but revenue for imported Hollywood movies remained down by 70 percent compared to the year before the pandemic.


    BY PATRICK BRZESKI
    Plus Icon

    JANUARY 3, 2022 8:32PM

    COURTESY A REALLY HAPPY FILM

    For the second year in a row, China ended 2021 as the world’s largest theatrical film market.

    Total movie ticket revenue in the country clocked in at $7.3 billion (RMB 47.3 billion, assuming an average annual exchange rate of RMB 6.45 to $1), more than double last year’s total and down just 26 percent from a pre-pandemic high of $9.2 billion (RMB 64.3 billion) in 2019, according to data from regional box office tracker Artisan Gateway.

    Ticket sales at the domestic North American box office, meanwhile, where the industry faced much harsher disruption and fallout from the pandemic throughout the year, revenues are estimated to have remained nearly 60 percent behind 2019 at $4.5 billion.

    Worse still for the U.S. industry, Hollywood’s foothold in China’s huge and rapidly recovering marketplace continued to erode over the past year. U.S. movies accounted for just 12 percent of China’s total box office sales, or $899 million (RMB 5.8 billion), down from a 30 percent share in 2019 and total sales of $2.8 billion (RMB 19.4 billion).

    During much of the China box office boom era of the late 2000s and 2010s, the Hollywood studios saw their revenue grow in China every year, while they commanded annual market shares as high as 30 percent to 50 percent.

    The foremost problem for Hollywood in China in 2021 was simply a dearth of product hitting local screens, analysts say. Just 20 revenue-sharing U.S. titles were released in Chinese cinemas last year, compared to 31 U.S. tentpole releases in 2019 (during China’s peak pandemic year of 2020, there were still 17 studio releases).

    Hollywood’s own pandemic-related release postponements were the chief hindrance for the studios in the first half of the year, but by summer their distribution pipelines were pumping again. By then, however, local politics surrounding the 100th anniversary of the Chinese Communist Party dictated that Beijing regulators would leave American product on the shelf in favor of patriotically themed Chinese fare. Surging nationalism and political sensitivity among the local public, encouraged by the fraught diplomatic relations between Beijing and Washington, later derailed the release prospects of several bankable Hollywood movies in the final stretch of the year. The casualties included Disney’s Marvel tentpoles Black Widow, Eternals and Shang-Chi and the Legend of the Ten Rings; Warner Bros.’ Space Jam; and Sony’s Venom: Let There Be Carnage and Spider-Man: No Way Home — all fan-favorite properties that collectively could have earned hundreds of millions.

    The domestic Chinese industry, meanwhile, continued its remarkable post-COVID recovery (or mid-COVID, depending on how 2022 unfolds…). Some 472 Chinese movies were released in 2021, exceeding the 428 titles the country put out in 2019 before the pandemic. And total sales revenue for Chinese films reached RMB 39.9 billion ($6.19 billion), just shy of 2019’s total of RMB 41.2 billion (about $6 billion according to exchange rates at the time).

    Eight of the top 10 biggest films of the year in China were local, led by record-setters The Battle at Lake Changjin ($899 million), Hi, Mom ($822 million) and Detective Chinatown 3 ($686 million). Hollywood’s top earners were Universal’s F9: The Fast Saga ($216.9 million), Legendary and Warner Bros.’ Godzilla vs. Kong ($188.7) and Disney’s Free Guy ($94.8 million).

    Many of the biggest Chinese hits of the year, such as the leading title, Korean war epic The Battle of Lake Chongjin, were “main melody” films — propagandistic stories celebrating the glory of China and its leaders — released around the occasion of the CCP’s 100-year anniversary.

    “The success of ‘main melody’ films has had a virtuous cycle effect for local films,” says Rance Pow, president of Artisan Gateway. Pow sees three factors driving the commercial resurgence of Chinese cinema over the past year: “The Chinese audience’s growing perception and pride in its nation’s success and position in the global context, homegrown films that cater to local tastes, and a growingly sophisticated film production, marketing, and distribution ecosystem that is backed and overseen by the central government.”

    The industry also benefited from increased ticket prices during the year — the average ticket rose to RMB 40.5 ($6.37) in 2021, up 8.7 percent from the 2019 average of RMB 37.1 — despite the fact that total movie theater admissions remained down 29.4 percent from their 2019 peak of 1.7 billion.

    New movie theaters also continued to be built at a rapid clip throughout the year. The country added nearly 6,700 new screens, hitting a national total of 82,248, with most of the new construction taking place in rural areas where Chinese-language films play most powerfully.
    I know, I know... I need to change the title of this thread. Been meaning to do that since the pandemic began but now I'm thinking I'll keep it so until the pandemic is over, just for nostalgia's sake.
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    $901.5 m

    China’s New Year Box Office Grosses May Hit New High
    Leading the charge is 'The Battle at Lake Changjin 2: Water Gate Bridge,' the sequel to the country's top-grossing movie of all time with $901.5 million

    BY PATRICK BRZESKI

    JANUARY 29, 2022 3:31PM

    'The Battle at Lake Changjin' COURTESY A REALLY HAPPY FILM
    As moviegoing in North America and Europe is getting battered all over again thanks to the omicron variant, China’s theatrical film sector is revving up to set a slew of new box-office records.

    The country’s weeklong Chinese New Year holiday period, always a bonanza for local studios and exhibitors, kicks off Feb. 1, and analysts believe a bumper crop of high-profile potential blockbusters — eight local titles are currently scheduled for simultaneous release this year — could lift the market to unprecedented heights.

    During Chinese New Year in 2021, ticket sales totaled a record $1.2 billion, with family comedy Hi, Mom leading the way with an eventual total haul of $821 million (Wanda’s comedy Detective Chinatown 3 wasn’t far behind with $685 million). Ticket revenue during the seven-day holiday amounted to a whopping 16.6 percent of China’s full-year box office total and the full month of February took at 25 percent share of the year’s sales (Unfortunately for Hollywood, Beijing blocks all foreign film releases during the family holiday — a practice U.S. trade negotiators have lamented with little effect for over a decade — so all gains go only to the local Chinese industry).

    Analysts are expecting more of the same for 2022. “This year’s Chinese New Year season could reach a new high-water mark of $1.3 billion to $1.4 billion (RMB 8 billion to RMB 8.5 billion),” says Rance Pow, president of cinema industry consultancy Artisan Gateway.

    Leading the charge is The Battle at Lake Changjin 2: Water Gate Bridge, the second installment in a nationalistic war saga about China’s real-life victory over the U.S. in a key battle during the Korean War. Co-directed by a trio of Chinese hitmakers, Chen Kaige, Tsui Hark and Dante Lam, the franchise’s first film was only released last September and went on to become China’s top-grossing movie of all time with $901.5 million. China’s state-backed Global Times newspaper reported Jan. 23 that the film was leading the ticket pre-sales race with $5.64 million with a little over a week to go before opening day. The outlet went so far as to forecast that The Battle at Lake Changjin 2 would become the first Chinese film to earn over $1 billion (RMB 6.5 billion)

    China’s box office outcomes are notoriously tricky to predict with confidence, however, as frontrunners have often been felled by negative audience reaction within the early hours of their release, and dark horse contenders have then galloped ahead. “Social media word of mouth in China can be a powerful determinant of a film’s commercial success, and the market has shown an adeptness for adjusting to audience preference if the pre-season favorite does not launch quickly,” explains Pow.

    Other top contenders this year include drama Nice View, director Wen Muye’s follow-up to his 2018 hit, Dying to Survive ($451 million); and road trip comedy-drama Only Fools Rush In, from former blogger turned fan favorite director Han Han (his previously release, Pegasus, earned $256 million in 2019); local director legend Zhang Yimou’s Korean War biopic, Sharpshooter; and comedy caper Too Cool to Kill, from relative newcomer, Xing Wenxiong; among much else.

    The only major Western entertainment business that enjoys regular participation in the Chinese New Year earnings sensation is Imax, which operates over 750 screens in the country. Each year, the Canadian exhibitor places its bets by picking one or two titles to covert into its giant screen format. In 2020, Imax has selected three expected winners, Battle at Lake Changjin 2 (which was filmed for Imax), Nice View and Han Han’s Only Fools Rush In.


    SOURCE: ARTISAN GATEWAY
    For the record, I circled back and reviewed part 1.

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    Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy

    Feb 7, 2022 3:28pm PT
    ‘China Has Ghosted Hollywood’: How the Fallout Will Affect the Film Industry

    Wall Street Journal reporter Erich Schwartzel's new book "Red Carpet" offers a timely look at increased tensions between two dominant forces in the movie business

    By Rebecca Rubin


    Amazon
    At some point in the past decade, Hollywood stopped looking at the burgeoning Chinese box office as found money and instead embraced the theatrical market’s windfall for what it has become: a necessity.

    Today, whether or not blockbuster plays in China could mean the difference between hundreds of millions of dollars in ticket sales. That reality is downright painful at a time when China has continued to deny releases for Hollywood’s biggest 2021 movies, such as Disney’s “Black Widow,” “Shang-Chi and the Legend of the Ten Rings” and “Eternals,” as well as Sony’s “Venom: Let There Be Carnage.” And the few films that were given access to Chinese movie theaters, including MGM’s James Bond sequel “No Time to Die” and Denis Villeneuve’s “Dune” remake, earned far less than their studios had expected.

    China has always been strict about the number of foreign films it allows to screen across the country’s thousands of venues. But recently, there has been increased ambiguity about why the world’s largest theatrical market has all but closed the door on U.S. project — and if it will change in 2022 and beyond.

    “China has ghosted Hollywood,” says Wall Street Journal reporter Erich Schwartzel. His new book, “Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy,” hits shelves on Tuesday and offers a timely look at long-standing tensions between the two dominant forces in the movie business. “About a year ago, I would have said we’re looking at a future where China needs Hollywood less and less, and Hollywood should start taking steps to prepare. But over the past year, it’s been drastic.”

    Ahead of the release of “Red Carpet,” Schwartzel spoke to Variety about China’s growing influence on Hollywood — and what it means for the film industry.

    China hasn’t granted access to many major Hollywood movies, but it recently approved Woody Allen’s romantic comedy “A Rainy Day in New York,” which is three years old. What’s the reasoning behind these decisions?

    The Woody Allen thing almost feels like trolling at this point. There’s a lot of theories. One is there’s a broader trend toward Chinese moviegoers preferring Chinese entertainment. You’ve seen American movies making up a smaller and smaller share of the box office over the past couple of years. This feels more charged than that. It feels like an effort to punish America as tensions rise. A lot of the people making decisions on what movies get in, they’re also interested in keeping their jobs. Sometimes the risk assessment is pretty easy. If you know that tensions between the U.S. and China are relatively high, do you really want to be the state bureaucrat who lobbies to let an American movie in and risk sticking your neck out?

    There also seems to be an effort within China to stir nationalism and keep outside influence out. One thing that surprised me when I was writing this book is just how often China will turn on or turn off that spigot. There have been numerous examples throughout history when China, for whatever reason, maybe it’s a Communist Party anniversary, will say, “We’re going to cut back on the number of foreign films we let in.” And not only that, but “we also want state TV stations to start showing Chinese war movies, something that will bolster bolster patriotism.” What we’ve seen in the past year with all these major movies not getting in is the most consequential pattern that we’ve ever seen. There are a lot of studios with a big fat zero in a column they were expecting some money.

    Are Marvel movies or “Fast and Furious” installments, which have always been enormously successful in China, waning in popularity? Or does the Chinese government have outsized influence on which movies do well?

    It’s such a chicken-egg question. The controls that were put in place several years ago, like blackout dates or stacking movies so they cannibalize one another’s grosses, are still used, but less necessary — in part because Chinese movies, often with the help of Hollywood, have gotten better. People [in the U.S.] lament you can’t make any movie that’s not a superhero tentpole anymore. In China, there’s actually a pretty robust moviemaking operation of comedies, dramas and science fiction and original stories. And they’ve been doing really well. China is always going to want controls that ensure it looks to be the preferred option. But I also think that it is becoming more and more the preferred option. I don’t know if studios should have been as surprised as they were that eventually Chinese people would prefer to see Chinese stories and Chinese movie stars.
    continued next post
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    continued from previous

    “Spider-Man: No Way Home” has managed to become a huge success without China. Can mega-budgeted movies still survive if they don’t get an attractive release date in China, or is that film an exception?

    I think it’s an example of how they can do well, but it’s also an example of how they could have done better. Any studio executive would still prefer $1.9 billion [in global box office grosses] to $1.6 billion. The key question: As China becomes more and more of an uncertainty, does that change the budgets these movies are greenlit at? You can run a good business making $1.5 billion on a movie, but it may be a different equation than one that was expecting [to earn] $1.8 billion. “Spider-Man” is doing such gargantuan business, but I think it’s probably a little dicier for movies on the bubble. There have been a lot of expensive movies that China has meant the difference between profit and loss.

    Hollywood is laser-focused on streaming. How does that change the film industry’s reliance on China?

    It’s bifurcated things a bit. If streaming is going to mean that theatrical releases are reserved for the biggest of the big movies, that makes China more powerful in that department. But if there’s this other part of the business that’s really streaming oriented, that does reduce reliance because a lot of streaming content from studios doesn’t get into China. The business model is different whenever you’re trying to count subscriptions and not box office tickets. In one bucket, it has allowed China to retain power, but in another, China is a little irrelevant. Will a Disney Plus try to get into China? This traditionally has not worked out, but we keep learning time and time again that 1.4 billion consumers are impossible to ignore.

    U.S. ticket sales are split roughly 50-50 between studios and theater operators. With China, studios only get 25% of revenues, but in return they don’t pay for marketing or distribution. Since it’s a notably smaller percentage, are those receipts mostly inflating the global box office figure or are they actually beneficial to film studios?

    It’s mostly the latter. It’s not pure profit, but it’s much closer [to that] than what they get in the U.S. For a long time, studios were lobbying to the U.S. government and the MPA [Motion Picture Association] to do something about that. The 25% term was set in 2012, when China was a fraction of the market it is today. A lot of folks in Hollywood think China is allowed to operate on developing market rules, despite being a massively developed market. The 25%, while still a frustration, due to the intricacies of the dynamic — no marketing costs, things like that — it’s still found money. There’s comparatively much less work to do when you’re releasing a movie in China than another market.

    What do you make of censorship in other territories, like North Korea?

    We haven’t seen anything as dramatic as the North Korea hack. But the Chloe Zhao case last year was pretty high profile and extreme. A lot of folks will say, “Well, it’s the market reality. We censor movies for Saudi Arabia, Indonesia, airplanes.” The key difference is none have put the studios at odds with its own government. The U.S.-China rivalry is being called the story of the 21st century. It’s hard to ignore the fact that whenever decisions are being made, they are playing a role in this broader ideological debate.

    Since Netflix isn’t available in China, it is one of the few Hollywood companies without a vested interest in appeasing Chinese censors. Is that important?

    It’s a fascinating exception to the rule. It doesn’t seem like they’ll get into China, and it has given them this kind of freedom. As they censor elsewhere, they seem to not have to worry about China to the degree other studios have. It seems, so far, that just meant they’ll carry shows and documentaries that others wouldn’t touch. It doesn’t feel like it’s translated into a purposeful mission. I haven’t heard of Netflix saying, “We’re not in China, so let’s greenlight a bunch of content critical of China.” But it does seem to give them a license that other studios and tech companies moving into China don’t have.

    China recently restored the original “Fight Club” ending after censorship backlash. Were you surprised to see that reversal?

    We don’t necessarily see any kind of reaction to these things in China. It introduced a lot of Americans to what storytelling in China is like, with every movie trying to reach a moral equilibrium. It was like that in the U.S. for a while when Hollywood was much more religiously influenced. There had to be consequences for bad actions. But China takes that to another level. Most Chinese moviegoers see through this. I don’t think there are a lot of Chinese moviegoers streaming “Fight Club” and not seeing what [the revised ending] is all about. I would talk to people who would say things like, “I thought it was pretty good for a propaganda movie.” There’s more awareness that Americans can acknowledge. It’s not like people are seeing a movie and then being like, “Oh, thank God the Chinese government stopped Tyler Durden.

    This interview has been edited and condense for clarity.
    This looks like a good read.
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
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