2025年4月16日，华东师范大学亚太研究中心执行主任陈弘接受《环球时报》英文版采访，谈美国电影在中国电影市场的变化。
China embraces global film diversity
Illustration: Chen Xia/GT
The 15th Beijing International Film Festival (BJIFF), set to take place from April 18 to 26, has ignited excitement among film enthusiasts with its announcement of over 300 films for the screening unit.
This event not only showcases the diverse array of global cinema but also reflects China's open and inclusive attitude toward the evolving landscape of the international film market. Within seconds of going on sale, tickets for several highly anticipated films sold out, underscoring the vibrant demand for quality cinematic experiences.
The festival's timing coincides with a pivotal moment for China's film industry. In response to US tariff hikes, a spokesperson for the China Film Administration recently announced plans to "follow the law of the market, respect the choice of the audience, and moderately reduce the number of imported US films."
BJIFF judge Shi Wenxue told the Global Times that China's intention is to maintain a diverse cultural ecosystem by introducing films from more countries.
He pointed out that this approach is particularly evident as China celebrates the 120th anniversary of Chinese cinema and the 130th anniversary of world cinema in 2025, with multiple international film festivals like BJIFF and active participation in overseas film events demonstrating a commitment to openness.
Recent collaborations further highlight China's proactive stance.
China and Spain recently signed a film cooperation memorandum of understanding, aiming to deepen exchanges in film festivals, mutual film screenings, co-productions, and personnel exchanges.
Similarly, the China-Russia co-production Red Silk, which premiered in Moscow, Russia, in February, has garnered significant attention.
According to a report by Russian media outlet Russian Today, "Moscow and Beijing intend to cooperate on a number of entertainment projects," Russian Culture Minister Olga Lyubimova has said.
These partnerships not only enrich domestic viewing options but also enhance cross-regional narrative influence, injecting new vitality into the global film market.
Despite the reduction in US film imports, China's film market is not moving toward isolationism. Instead, it is leveraging this change to strengthen international cooperation.
As the world's second-largest film market, China presents immense opportunities for international investors and filmmakers.
Many film insiders analyzed that the space left by reduced US film imports will be filled by high-quality films from Japan, Europe, and Southeast Asia.
"Japanese films, in particular, have emerged as the 'second pillar' of foreign language films in the Chinese market," Beijing-based film critic Liu Nandou told the Global Times.
According to Chinese ticketing platform Maoyan, in 2023 and 2024, films like Suzume, The First Slam Dunk, and The Boy and the Heron generated over 2.3 billion yuan ($313 million) in box-office revenue in the Chinese mainland.
European films such as French crime film Anatomy of a Fall and Italian black-and-white drama There's Still Tomorrow have also exceeded expectations, while Southeast Asian and South Asian films like comedy drama How to Make Millions Before Grandma Dies from Thailand and Indian suspense film Maharaja have gained traction with strong word-of-mouth.
"The success of these films is due not only to the innovation of the subject matter, but also because they are closer to the values and emotional resonance of the Chinese audience," Liu said.
According to Liu, who cited a film market industry report, US films accounted for only 14.4 percent of China's total box-office revenue in 2024. The trend reflects a broader disillusionment with Hollywood's creative stagnation and over-reliance on IP franchises.
In contrast, Chinese domestic films saw their box-office share rise to 78.68 percent in 2024, according to statistics from the China Film Administration. Meanwhile, the blockbuster Ne Zha 2 claimed the fifth spot on the all-time global box-office charts, further solidifying its status as both a cultural and commercial phenomenon.
Chen Hong, executive director of the Asia-Pacific Studies Centre at East China Normal University, told the Global Times that Hollywood's idealized portrayals of US values - seen in films like Saving Private Ryan - increasingly clash with real-world perceptions of US "hegemonic behavior."
"This dissonance has led audiences to question the authenticity of US cultural narratives, fueling a preference for homegrown content that reflects China's cultural confidence," he said.
According to a report released by Chinese ticketing platform Beacon, the total box-office revenue of Hollywood films in the Chinese mainland in 2024 was 6.273 billion yuan, accounting for 15.1 percent of the annual box office. While, in 2019, the market share and total box-office revenue of Hollywood films in the Chinese mainland was 31 percent and 19.9 billion yuan, respectively.
As Monique White, the executive vice president at California Pictures, noted, the loss of income from the Chinese market could lead to reduced budgets and a reevaluation of production strategies, according to a report from CBS News.
Liu said that after China "moderately reduced the number of imported US films," the Hollywood blockbusters on this year's release list are in a precarious position.
Currently, only a few upcoming films might have a significant box-office impact in the Chinese mainland if they are introduced to China, including the highly anticipated Zootopia 2 (November 2025) and Avatar 3 (December 2025).
