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Many movies are set, disappearing movies are back, is the spring of Chinese cinema coming?

Since the full liberalization in December last year, domestic films have sprung up.

Even March, which is not a hot schedule, "Keep You Safe", "Cloister Pavilion" and "Thunder Shazam!" Wrath of the Gods", "Journey to the Bell Buds", "More than Endless" and dozens of other movies are finalized.

Think of last year, the national single-day box office was difficult to break 10 million, theaters closed down one after another, and a new movie could not be released in a month, and now these good news are reminiscent of a sentence, is the spring of Chinese movies coming?

Statistically, it is indeed coming.

The total box office of the Spring Festival file was 6.724 billion, exceeding last year's 6.039 billion, ranking second in the box office list of the Spring Festival file in Chinese film history.

At the same time, many movies have been finalized one after another, and many movies that have disappeared for many years have returned, such as "Fengshen Trilogy" and "More than Endless".

Last year's annual box office was 29.949 billion, the worst record since 2015.

But this year, in just two months, the box office has reached 14.32 billion, nearly half of last year, and the number of people is 296 million, which is 40% of last year's 712 million, and the audience has begun to enter the cinema again.

The attendance rate also increased from 5.9% last year to 11.1%, returning to the pre-epidemic level, which shows that the viewing habit that began to form in 2014 has been picked up by movie-loving audiences.

In terms of type, spring is also here.

The movie released this year highlights a hundred flowers blooming and a hundred schools of thought contending.

The sci-fi film "The Wandering Earth 2", the spy war film "Nameless", the comedy "Keep You Safe", and the reality film "The rattle bangs".

The audience has more choices, and the theater is no longer a comedy movie, but the tumultuous operation of "Manjiang Hong" still makes people feel bad.

Fortunately, good movies are not buried after all.

"The Wandering Earth 2" also went abroad with "Nameless" and was released overseas with Chinese values, and both box office and word of mouth have created records for Chinese-language films.

The former also allows domestic films to gradually move towards the industrialization of film and television, so that domestic sci-fi films have the confidence to wrestle with Hollywood, and no longer worry that the door of Chinese sci-fi films is closed by "Shanghai Fortress".

Judging from the public opinion environment, spring is still a bit far away.

Since the beginning of this year's Spring Festival, the debate between movies has not been broken, and the discussion of "Manjiang Red", "The Wandering Earth 2" and "Nameless" outside the movie is much greater than the movie itself.

The box office of "Manjiang Hong" and the score of "Nameless" are the focus of public opinion, but this discussion has slowly changed its taste, from mutual abuse to confrontation, without the meaning of silence.

This is a damage to the film and the audience, and I hope that the follow-up can have a benign competitive environment, rather than some desperate official blog, forcing more than 30% of the film.

From the perspective of film and television talents, Chinese films still need to work hard.

This year's best-selling movies are all old faces, Andy Lau, Wu Jing, Shen Teng, Zhang Yimou, Guo Fan, there are relatively few new directors and young actors, and there are some deficiencies in talent reserve.

Especially in Hong Kong films, this phenomenon is even worse.

After so many years, there are still Kwok Fucheng, Liu Qingyun, Gu Tianle, Andy Lau, Lin Jiadong, Ren Dahua and others, and no new people have come out.

Even movies are formulaic police and bandit films, sci-fi films such as "Tomorrow's War" can be made into police and bandit films that catch undercover agents, and "Broken Network" has also become a police and bandit film in the end.

Compared with the thinning of Hong Kong films, the mainland is quite dynamic.

There are Andy Lau, Wu Jing, Guo Fan, their seniors who have a sense of responsibility for Chinese films, and have been contributing to the transmission of Chinese films, Andy Lau helps Ning Hao, Ning Hao helps Guo Fan, and Wu Jing helps Guo Fan.

Guo Fan has now begun to feed back Chinese films, giving all the experience of shooting the "The Wandering Earth" series for free, so that latecomers can enjoy the shade under the trees planted by their predecessors.

From the point of view of word of mouth, it is not bad, taking the seven movies of the Spring Festival file as an example.

"The Wandering Earth 2" 8.3, "Nameless" 6.8, "Manjiang Red" 7.2, "Bear Haunted, Accompany Me "Bear Core" 7.1, "Deep Sea" 7.4, "Exchange Life" 5.1, "Chinese Table Tennis Jedi Strikes Back" 7.1.

The proportion of more than 7 points is 71.4%, the pass rate is 85.7%, and only one "Exchange Life" has a score below 6 points, which is an incredible data for domestic films.

This shows that directors have begun to pay attention to the role of word of mouth.

Since 2013's "Tianji Fuchun Mountain Residence Map" opened the marketing of bad films, those publicity bad films appeared one after another, and the audience was seriously poisoned by bad films.

But only a year later, the era of traffic has come, and has pulled domestic films into the bottomless abyss, not only there are many bad films, but the acting skills are also unbearable, watching movies in the theater is like sitting on pins and needles, like a crow in the throat, like a thorn in the back.

In those years, it was simply harder to see a movie with a score of about 7 in the cinema than to climb to the sky, but their box office was higher than the other.

This momentum of bad money has changed somewhat in 2015, a year in which domestic films were better than Korean films in terms of quantity, quality, and local box office proportion.

For example, "Old Cannon", "Twelve Citizens", "Scorching Sun", "The Return of the Great Saint", "Heart Labyrinth", etc., and only a few Korean can get their hands on it.

This is the first time since 2002 that domestic films have appeared in a large number of good films with more than 8 points, and it is also the first time since 2000 that domestic films have the upper hand in the confrontation with Korean films.

Two years later, 2017 is an extremely important year for Chinese films.

"Wolf Warrior 2" topped the box office champion in film history, not only that, but also taught Chinese movies a lesson through the name of "spoiler" of "Wolf Warrior 2".

Domestic films began to change, mainly four points, that is, the audience's awakening, actors' drive, capital transformation, the intervention of relevant departments, word of mouth has become an important reference standard for films.

In summary, the momentum of Chinese films is now relatively good.

But we also can't be complacent, we must formalize our own shortcomings, not all movies can go abroad like "The Wandering Earth 2" and "Nameless".

In this regard, we still have to achieve three points, one is to have a strong distribution system, the second is that the story is easy to understand and eliminate cultural barriers, and the third is to improve the industrialization of film and television and subtly export values.

At present, the export of foreign culture has begun to change the previous thinking, which is a good thing, but Chinese films still have a long way to go, do not build cars behind closed doors, forget to communicate with the world, and only know to sit in the well and watch the sky.

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