Well Go USA has announced the release of Chinese mystery adventure, Schemes in Antiques, in North American theatres on December 17, 2021.
Xu Yuan makes a simple living as the owner of an electronics shop despite his family’s famed expertise on ancient relics. He is eager to distinguish himself from a disgraced ancestor executed for treason after stealing a Chinese artefact, a Tang Dynasty Buddha head, for Japan. But when a descendant offers to return the relic to China, Xu Yuan uncovers a decades-old mystery and embarks on a journey that could finally restore his family’s reputation. He is pitted against a gifted antiques appraiser with an agenda and gets dragged into an all-out war over this priceless treasure that may also cost him his life.
This film is adapted from the novel of the same name by Ma Boyong whose other notable works have been seen in recent drama adaptations,...
Xu Yuan makes a simple living as the owner of an electronics shop despite his family’s famed expertise on ancient relics. He is eager to distinguish himself from a disgraced ancestor executed for treason after stealing a Chinese artefact, a Tang Dynasty Buddha head, for Japan. But when a descendant offers to return the relic to China, Xu Yuan uncovers a decades-old mystery and embarks on a journey that could finally restore his family’s reputation. He is pitted against a gifted antiques appraiser with an agenda and gets dragged into an all-out war over this priceless treasure that may also cost him his life.
This film is adapted from the novel of the same name by Ma Boyong whose other notable works have been seen in recent drama adaptations,...
- 12/11/2021
- by Suzie Cho
- AsianMoviePulse
Maoyan forecasts the patriotic blockbuster will end up on $828.6m making it the highest-grossing film globally in 2021
Patriotic blockbuster The Battle At Lake Changjin grossed a further $108.5m over the weekend (October 8-10), according to figures from Artisan Gateway, to reach a cumulative total of $633.2m, making it the fourth highest-grossing film worldwide in 2021. The film opened on September 30 to coincide with China’s National Day holidays, which ended on Thursday (October 7).
According to Box Office Mojo’s worldwide chart, the film has sailed past Shang-Chi And The Legend Of The Ten Rings, currently on $401.6m without a China release,...
Patriotic blockbuster The Battle At Lake Changjin grossed a further $108.5m over the weekend (October 8-10), according to figures from Artisan Gateway, to reach a cumulative total of $633.2m, making it the fourth highest-grossing film worldwide in 2021. The film opened on September 30 to coincide with China’s National Day holidays, which ended on Thursday (October 7).
According to Box Office Mojo’s worldwide chart, the film has sailed past Shang-Chi And The Legend Of The Ten Rings, currently on $401.6m without a China release,...
- 10/11/2021
- by Liz Shackleton
- ScreenDaily
Half Billion Dollar Haul for ‘Battle at Lake Changjin’ as Patriotic Holiday Propels China Box Office
Cinema box office in China hit RMB4.2 billion ($651 million) over the seven-day National Holiday period, according to government sources on Friday.
By far the top title was “The Battle at Lake Changjin,” which had grossed RMB3.50 billion ($543 million) by 5pm local time on Friday, its ninth day of release. In second place over the holiday period was “My Country, My Parents” with RMB1,08 billion ($167 million).
Like “Battle,” “Parents” was released on Sept. 30, a day before the Oct. 1 festivities which celebrate the establishment of the People’s Republic of China, and kick off a prolonged official holiday, also known as ‘Golden Week.’
The total is 5% short of the RMB4.4 billion recorded in 2019, the last year before the coronavirus pandemic disrupted the global film industry. Including the weekend preceding the 2019 official holiday, the ten-day total in 2019 was RMB5 billion.
A key difference is that 2019 benefited from the release of three blockbusters – “My People, My Country,...
By far the top title was “The Battle at Lake Changjin,” which had grossed RMB3.50 billion ($543 million) by 5pm local time on Friday, its ninth day of release. In second place over the holiday period was “My Country, My Parents” with RMB1,08 billion ($167 million).
Like “Battle,” “Parents” was released on Sept. 30, a day before the Oct. 1 festivities which celebrate the establishment of the People’s Republic of China, and kick off a prolonged official holiday, also known as ‘Golden Week.’
The total is 5% short of the RMB4.4 billion recorded in 2019, the last year before the coronavirus pandemic disrupted the global film industry. Including the weekend preceding the 2019 official holiday, the ten-day total in 2019 was RMB5 billion.
A key difference is that 2019 benefited from the release of three blockbusters – “My People, My Country,...
- 10/8/2021
- by Patrick Frater
- Variety Film + TV
China Film Co’s patriotic omnibus My Country, My Parents came in second with $90.6m over four days.
Bona Film Group’s The Battle At Lake Changjin topped the China box office over the National Day holiday weekend, according to figures from theatrical consultancy Artisan Gateway, grossing $234.8m in four days.
The patriotic blockbuster, co-directed by Chen Kaige, Tsui Hark and Dante Lam, opened on September 30 and grossed $31.6m on its first day, followed by an additional $203.2m over the three-day weekend (October 1-3). China’s National Day holidays, celebrating the establishment of the People’s Republic of China in...
Bona Film Group’s The Battle At Lake Changjin topped the China box office over the National Day holiday weekend, according to figures from theatrical consultancy Artisan Gateway, grossing $234.8m in four days.
The patriotic blockbuster, co-directed by Chen Kaige, Tsui Hark and Dante Lam, opened on September 30 and grossed $31.6m on its first day, followed by an additional $203.2m over the three-day weekend (October 1-3). China’s National Day holidays, celebrating the establishment of the People’s Republic of China in...
- 10/4/2021
- by Liz Shackleton
- ScreenDaily
An anthology tribute film with four short stories focusing on the struggles of normal Chinese families in four different eras, their collective memories and parents’ love for their children.
This is the third instalment of the patriotic “National Day Trilogy” after 2019’s My People, My Country and 2020’s My People, My Homeland. The stories are directed by actress Zhang Ziyi, actor-and-director Wu Jing (The Wandering Earth), comedian Shen Teng and actor-and-director Xu Zheng (Lost in Thailand).
Theatrical release in North America, Australia and New Zealand: October 8, 2021...
This is the third instalment of the patriotic “National Day Trilogy” after 2019’s My People, My Country and 2020’s My People, My Homeland. The stories are directed by actress Zhang Ziyi, actor-and-director Wu Jing (The Wandering Earth), comedian Shen Teng and actor-and-director Xu Zheng (Lost in Thailand).
Theatrical release in North America, Australia and New Zealand: October 8, 2021...
- 10/3/2021
- by Suzie Cho
- AsianMoviePulse
Chinese actor Zhang Ziyi will make her directorial debut with a short titled “Poem,” part of a high-profile patriotic omnibus blockbuster set for release on Oct. 1, China’s National Day.
The film does not yet have an official English name — unsurprising, given that it will not find an audience beyond the China market — but its Chinese name translates to “My People, My Forebears.” Produced by China Film Group, it is the third installment of the patriotic “National Day” trilogy, which includes 2019’s seven-part anthology “My People, My Country” — a commemoration of the 70th anniversary of the founding of the People’s Republic of China — and 2020’s five-part “My People, My Homeland.”
Zhang, who holds Hong Kong citizenship, is best known abroad for her star turns in Ang Lee’s “Crouching Tiger, Hidden Dragon,” and Zhang Yimou’s “House of Flying Daggers” and “Hero,” as well as “Memoirs of a Geisha...
The film does not yet have an official English name — unsurprising, given that it will not find an audience beyond the China market — but its Chinese name translates to “My People, My Forebears.” Produced by China Film Group, it is the third installment of the patriotic “National Day” trilogy, which includes 2019’s seven-part anthology “My People, My Country” — a commemoration of the 70th anniversary of the founding of the People’s Republic of China — and 2020’s five-part “My People, My Homeland.”
Zhang, who holds Hong Kong citizenship, is best known abroad for her star turns in Ang Lee’s “Crouching Tiger, Hidden Dragon,” and Zhang Yimou’s “House of Flying Daggers” and “Hero,” as well as “Memoirs of a Geisha...
- 9/10/2021
- by Rebecca Davis
- Variety Film + TV
Cmc Pictures, the international film distributor controlled by Li Ruigang’s China Media Capital Holdings, has acquired distribution rights in North America and New Zealand to the forthcoming Chinese tentpole My Parents and I (currently a working title).
The film will be the third installment in the series of patriotic ensemble films that began with 2019’a My People, My Country, which earned a whopping $425 million in the Middle Kingdom — only to be narrowly beaten by the second film in the series, My People, My Homeland, which brought in $433 million in October.
The new project is considered a tribute film commemorating this year’s 100th anniversary ...
The film will be the third installment in the series of patriotic ensemble films that began with 2019’a My People, My Country, which earned a whopping $425 million in the Middle Kingdom — only to be narrowly beaten by the second film in the series, My People, My Homeland, which brought in $433 million in October.
The new project is considered a tribute film commemorating this year’s 100th anniversary ...
Cmc Pictures, the international film distributor controlled by Li Ruigang’s China Media Capital Holdings, has acquired distribution rights in North America and New Zealand to the forthcoming Chinese tentpole My Parents and I (currently a working title).
The film will be the third installment in the series of patriotic ensemble films that began with 2019’a My People, My Country, which earned a whopping $425 million in the Middle Kingdom — only to be narrowly beaten by the second film in the series, My People, My Homeland, which brought in $433 million in October.
The new project is considered a tribute film commemorating this year’s 100th anniversary ...
The film will be the third installment in the series of patriotic ensemble films that began with 2019’a My People, My Country, which earned a whopping $425 million in the Middle Kingdom — only to be narrowly beaten by the second film in the series, My People, My Homeland, which brought in $433 million in October.
The new project is considered a tribute film commemorating this year’s 100th anniversary ...
Chinese pop singer and actor Jackson Yee, who starred in the Oscar-nominated drama “Better Days,” will anchor a new blockbuster from Chinese director Wen Muye, whose “Dying to Survive” is China’s 12th highest grossing film of all time.
The film, scheduled for a 2022 release, does not yet have an official English title, but its Chinese name translates to “Miracle.” It will be produced by Ning Hao and his Dirty Monkey Films.
The plot is described in current reports: “Twenty-year-old Jing Hao brings his sister with him to go live in Shenzhen, where the siblings lead comfortable but difficult lives. By chance, he gets an opportunity and thinks that a better life is on its way, but then unexpectedly suffered huge losses. Through enormous perseverance, he stubbornly struggles on until he finally succeeds.”
The film will be the second collaboration between Wen and Ning, following their first picture together “Dying to Survive,...
The film, scheduled for a 2022 release, does not yet have an official English title, but its Chinese name translates to “Miracle.” It will be produced by Ning Hao and his Dirty Monkey Films.
The plot is described in current reports: “Twenty-year-old Jing Hao brings his sister with him to go live in Shenzhen, where the siblings lead comfortable but difficult lives. By chance, he gets an opportunity and thinks that a better life is on its way, but then unexpectedly suffered huge losses. Through enormous perseverance, he stubbornly struggles on until he finally succeeds.”
The film will be the second collaboration between Wen and Ning, following their first picture together “Dying to Survive,...
- 8/6/2021
- by Rebecca Davis
- Variety Film + TV
Chinese director Chen Kaige’s U.S.-born son Arthur Chen Feiyu has swapped his American citizenship for a Chinese one, a change widely viewed locally as a savvy move to boost his burgeoning career in the mainland.
The move comes as Chinese public opinion about celebrities has hinged upon questions of nationality. For instance, Beijing banned mentions of China-born Chloe Zhao earlier this year — despite her Oscar sweep — after a frenzy of inquiry erupted online over her true nationality, among other issues.
Arthur Chen, it seems, is preemptively sidestepping all that drama.
“After a wait of several years, the young man’s wishes has finally been fulfilled. Mr. Chen Feiyu has formally become a Chinese citizen,” his studio said in a statement to its official Weibo, stamped with the company’s official seal. “At the same time, Mr. Chen Feiyu has always steadfastly loved the great motherland, and will...
The move comes as Chinese public opinion about celebrities has hinged upon questions of nationality. For instance, Beijing banned mentions of China-born Chloe Zhao earlier this year — despite her Oscar sweep — after a frenzy of inquiry erupted online over her true nationality, among other issues.
Arthur Chen, it seems, is preemptively sidestepping all that drama.
“After a wait of several years, the young man’s wishes has finally been fulfilled. Mr. Chen Feiyu has formally become a Chinese citizen,” his studio said in a statement to its official Weibo, stamped with the company’s official seal. “At the same time, Mr. Chen Feiyu has always steadfastly loved the great motherland, and will...
- 8/3/2021
- by Rebecca Davis
- Variety Film + TV
Tony Leung Chiu-Wai and Andy Lau will team up in a new major action movie titled “Goldfinger,” local reports said Friday.
The two beloved Hong Kong-born A-listers haven’t worked together since the end of the “Infernal Affairs” trilogy 18 years ago.
The reunion will be written and directed by Felix Chong, the screenwriter for that series. It is backed by Emperor Motion Pictures and mainland Chinese partners, with a reported budget of around $30.8 million (RMB200 million).
Chong found success in mainland China in 2018 with his counterfeiting thriller “Project Gutenberg,” which he wrote and directed. Starring Chow Yun-Fat, Aaron Kwok and Zhang Jingchu, it grossed $183 million in China and $4.3 million in Hong Kong, going on to win best film, best script, best director and four other prizes from 17 nominations at the 2019 Hong Kong Film Awards.
Other members of the “Goldfinger” cast will include fellow veteran Hong Kongers Simon Yam and Philip Keung...
The two beloved Hong Kong-born A-listers haven’t worked together since the end of the “Infernal Affairs” trilogy 18 years ago.
The reunion will be written and directed by Felix Chong, the screenwriter for that series. It is backed by Emperor Motion Pictures and mainland Chinese partners, with a reported budget of around $30.8 million (RMB200 million).
Chong found success in mainland China in 2018 with his counterfeiting thriller “Project Gutenberg,” which he wrote and directed. Starring Chow Yun-Fat, Aaron Kwok and Zhang Jingchu, it grossed $183 million in China and $4.3 million in Hong Kong, going on to win best film, best script, best director and four other prizes from 17 nominations at the 2019 Hong Kong Film Awards.
Other members of the “Goldfinger” cast will include fellow veteran Hong Kongers Simon Yam and Philip Keung...
- 2/19/2021
- by Rebecca Davis
- Variety Film + TV
An angelic chorus of young boys set the scene at a big Tencent press conference held last week to announce new production strategies and a huge slate of upcoming content.
“The blood which fills our chest has boiled over, we must struggle for the truth! Arise, slaves, arise, we shall be the masters of the world!” they warbled, singing the version of “The Internationale,” the Socialist anthem, translated into Chinese from Russian in the 1920s by a poet friend of Mao Zedong.
Though the song was also taken up in 1989 by the pro-democracy demonstrators in Tiananmen Square, it was here deployed as a segue into a half-hour presentation on one of the tech giant’s biggest upcoming film projects: “1921,” a blockbuster about the founding of the Chinese Communist Party intended as a tribute on the 100th anniversary of the occasion.
It’s no surprise that despite all the uncertainties of...
“The blood which fills our chest has boiled over, we must struggle for the truth! Arise, slaves, arise, we shall be the masters of the world!” they warbled, singing the version of “The Internationale,” the Socialist anthem, translated into Chinese from Russian in the 1920s by a poet friend of Mao Zedong.
Though the song was also taken up in 1989 by the pro-democracy demonstrators in Tiananmen Square, it was here deployed as a segue into a half-hour presentation on one of the tech giant’s biggest upcoming film projects: “1921,” a blockbuster about the founding of the Chinese Communist Party intended as a tribute on the 100th anniversary of the occasion.
It’s no surprise that despite all the uncertainties of...
- 10/26/2020
- by Rebecca Davis
- Variety Film + TV
Thursday marked the end of the Chinese National Day holiday with the world’s second largest box office market significantly tightening the gap between its turnstiles and those of North America. Takings for the period are estimated at Rmb 3.95B ($589M). That does not include play of some of the releases that got a jump on the holiday. Overall, the Top 5 National Day pics grossed Rmb 4.2Bb ($627M) from initial release through yesterday and with runway still to come as no major Hollywood movies are due to hit the Middle Kingdom in the near future. The most recent data we have indicates that North America is at $2.06B through this past Monday and China is at Rmb 12.2B ($1.82B) for the year so far.
As noted previously, China stands primed to overtake North America for the first time when full results are in for 2020. Of course, this year gets a...
As noted previously, China stands primed to overtake North America for the first time when full results are in for 2020. Of course, this year gets a...
- 10/9/2020
- by Nancy Tartaglione
- Deadline Film + TV
The China box office bounced back this weekend to its pre-pandemic levels, figures from its National Day holiday weekend show — proving that the right mix of competitive new local titles can entice viewers in, what this year is very much on track to be, the world’s largest movie market.
The news comes as other major markets flounder, with Regal Cinemas owner Cineworld Group announcing the temporary suspension of its U.S. and U.K. operations due to an insufficient pipeline of Hollywood studio tentpoles, causing its shares to plummet more than 40% on Monday.
China’s week-long vacation period to celebrate the Oct. 1 founding of the People’s Republic is one of its busiest moviegoing periods of the year. That is particularly true this year, after Covid-19 shut down cinemas and wiped out the prospects of the strong Lunar New Year release window. Three of the top five titles this...
The news comes as other major markets flounder, with Regal Cinemas owner Cineworld Group announcing the temporary suspension of its U.S. and U.K. operations due to an insufficient pipeline of Hollywood studio tentpoles, causing its shares to plummet more than 40% on Monday.
China’s week-long vacation period to celebrate the Oct. 1 founding of the People’s Republic is one of its busiest moviegoing periods of the year. That is particularly true this year, after Covid-19 shut down cinemas and wiped out the prospects of the strong Lunar New Year release window. Three of the top five titles this...
- 10/5/2020
- by Rebecca Davis
- Variety Film + TV
China’s total box office over the three-day weekend (October 2-4) reached $215.6m.
Patriotic omnibus My People, My Homeland topped the China box office over the National Day weekend (October 2-4), according to figures from Artisan Gateway, grossing $97.5m. The film opened one day earlier on Thursday, October 1, the first day of the eight-day holiday, and in its first four days has grossed a cumulative total of $137.8m.
Produced by Beijing Culture, the film is executive produced by Zhang Yimou and has segments directed by Ning Hao, Xu Zheng and Chen Sicheng, among other directors. Last year’s similarly-themed My People, My Country...
Patriotic omnibus My People, My Homeland topped the China box office over the National Day weekend (October 2-4), according to figures from Artisan Gateway, grossing $97.5m. The film opened one day earlier on Thursday, October 1, the first day of the eight-day holiday, and in its first four days has grossed a cumulative total of $137.8m.
Produced by Beijing Culture, the film is executive produced by Zhang Yimou and has segments directed by Ning Hao, Xu Zheng and Chen Sicheng, among other directors. Last year’s similarly-themed My People, My Country...
- 10/5/2020
- by Liz Shackleton
- ScreenDaily
The first major blockbuster of the pandemic era, The Eight Hundred this week became the No. 1-grossing movie of 2020 worldwide, jumping ahead of Bad Boys For Life. The Guan Hu-directed war epic has through Friday amassed $434M at the Chinese box office alone, and is also now the 10th biggest movie ever in the Middle Kingdom.
Since the official release on August 21 (more than a year after its original date was derailed), The Eight Hundred has relinquished the No. 1 slot on only four days, demonstrating its dominance even in the face of major Hollywood movies. The reported $80M production is expected to wind down when the National Holiday releases begin on October 1. One of those titles, Leap — which was originally slated for the Lunar New Year — got a jump on the holiday with previews starting today, and led the day at Rmb 56M ($8.2M), putting The Eight Hundred into second place.
Since the official release on August 21 (more than a year after its original date was derailed), The Eight Hundred has relinquished the No. 1 slot on only four days, demonstrating its dominance even in the face of major Hollywood movies. The reported $80M production is expected to wind down when the National Holiday releases begin on October 1. One of those titles, Leap — which was originally slated for the Lunar New Year — got a jump on the holiday with previews starting today, and led the day at Rmb 56M ($8.2M), putting The Eight Hundred into second place.
- 9/25/2020
- by Nancy Tartaglione
- Deadline Film + TV
Details of a massive new film studio complex now being built in Changchun, North East China, have began this week to emerge on the sidelines of the city’s film festival.
Construction began in May on the Changchun International Movie Metropolis project which is forecast to be valued at some $21.5 billion (RMB148 billion), and could start to come on stream in 2023. Among its facilities will be a 35-stage film studio and a theme park expected to attract 10 million tourists annually.
Changchun, a city of more than seven million people, in what was once Manchuria, is closer to Vladivostok in Russia and to the North Korean border than it is to Beijing. Historically, it is a city that was built on railways and car manufacturing, but it also boasts film industry connections that go back to the time of Japanese occupation and the Manchukuo Film Association. The Changchun Film Studio operates...
Construction began in May on the Changchun International Movie Metropolis project which is forecast to be valued at some $21.5 billion (RMB148 billion), and could start to come on stream in 2023. Among its facilities will be a 35-stage film studio and a theme park expected to attract 10 million tourists annually.
Changchun, a city of more than seven million people, in what was once Manchuria, is closer to Vladivostok in Russia and to the North Korean border than it is to Beijing. Historically, it is a city that was built on railways and car manufacturing, but it also boasts film industry connections that go back to the time of Japanese occupation and the Manchukuo Film Association. The Changchun Film Studio operates...
- 9/11/2020
- by Patrick Frater
- Variety Film + TV
Tom Hanks-starring drama “A Beautiful Day in the Neighborhood” will join a thickening crowd of local and international films heading for Chinese movie theaters in the next six weeks.
The film, about beloved U.S. TV host Mr. Rogers, received investment from China’s Tencent Pictures in the early part of last year and received its stateside release on Nov. 22, 2019 in time for Thanksgiving.
Tencent received censorship approval for the film in early January this year. But it did not previously lock in a release date and was assumed to be awaiting the Oscars ceremony in February – Hanks was nominated as a supporting actor – to firm it up. That strategy was upended by the early arrival of the coronavirus outbreak in China and the closure of all mainland China cinemas from Jan. 23.
Chinese cinemas remained closed until July 20 and are only now getting back on track, with a series...
The film, about beloved U.S. TV host Mr. Rogers, received investment from China’s Tencent Pictures in the early part of last year and received its stateside release on Nov. 22, 2019 in time for Thanksgiving.
Tencent received censorship approval for the film in early January this year. But it did not previously lock in a release date and was assumed to be awaiting the Oscars ceremony in February – Hanks was nominated as a supporting actor – to firm it up. That strategy was upended by the early arrival of the coronavirus outbreak in China and the closure of all mainland China cinemas from Jan. 23.
Chinese cinemas remained closed until July 20 and are only now getting back on track, with a series...
- 8/20/2020
- by Patrick Frater
- Variety Film + TV
Peter Chan’s hotly anticipated biographical sports drama “Leap” is set to hit China on Sept. 30, becoming the first of the Chinese New Year blockbusters canceled due to Covid-19 to set a theatrical outing.
Local animation “Jiang Ziya: Legend of Deification,” which was also originally scheduled to premiere over the lunar new year, will premiere the day after. They will both hit theaters over the China’s patriotic National Day holiday that begins Oct. 1, typically one of the busiest movie-going weeks of the year.
They will compete against the patriotic anthology film “My People, My Homeland,” a sequel to last National Day’s “My People, My Country,” and Chinese comedy “Coffee or Tea?,” as well as a local animated take on the classic “Mulan” legend.
The fact that major new local blockbusters are now willing to set release dates is a signal of renewed confidence in China’s box office,...
Local animation “Jiang Ziya: Legend of Deification,” which was also originally scheduled to premiere over the lunar new year, will premiere the day after. They will both hit theaters over the China’s patriotic National Day holiday that begins Oct. 1, typically one of the busiest movie-going weeks of the year.
They will compete against the patriotic anthology film “My People, My Homeland,” a sequel to last National Day’s “My People, My Country,” and Chinese comedy “Coffee or Tea?,” as well as a local animated take on the classic “Mulan” legend.
The fact that major new local blockbusters are now willing to set release dates is a signal of renewed confidence in China’s box office,...
- 8/17/2020
- by Rebecca Davis
- Variety Film + TV
Universal Music Group’s China division on Thursday announced the launch of “Magic Muses,” its first local label in over a decade.
It will be focused solely on soundtracks and scores, seeking to work with local artists and composers to create tracks for Chinese film and TV projects.
Veteran film marketing executive Kelvin Hou will be the Beijing-based label’s CEO. Hou is the founder and former CEO of Chinese film website Mtime. Magic Muses will “bring together local talent from music and the film and TV, help them share ideas, exchange resources, and produce quality works,” he explained.
Prior to the new label, Umgc previously worked with the local blockbuster “The Eight Hundred” on its original soundtrack, which consists of 20 tracks created by composers Rupert Gregson-Williams (“Hacksaw Ridge”) and Andrew Kawczynski (“Dunkirk”) and producer Yu Fei. The closing track “Remember” is a take on the old Irish “Londonderry Air...
It will be focused solely on soundtracks and scores, seeking to work with local artists and composers to create tracks for Chinese film and TV projects.
Veteran film marketing executive Kelvin Hou will be the Beijing-based label’s CEO. Hou is the founder and former CEO of Chinese film website Mtime. Magic Muses will “bring together local talent from music and the film and TV, help them share ideas, exchange resources, and produce quality works,” he explained.
Prior to the new label, Umgc previously worked with the local blockbuster “The Eight Hundred” on its original soundtrack, which consists of 20 tracks created by composers Rupert Gregson-Williams (“Hacksaw Ridge”) and Andrew Kawczynski (“Dunkirk”) and producer Yu Fei. The closing track “Remember” is a take on the old Irish “Londonderry Air...
- 8/13/2020
- by Rebecca Davis
- Variety Film + TV
Huang Wei, the VP of China’s Bona Film Group who managed its cinema division, has died by suicide, jumping from the 18th-floor offices of the company’s Beijing headquarters today, according to multiple Chinese reports. He was 52.
In a brief statement posted to social media late Wednesday, Bona wrote that he had died on June 10, saying: “Our entire company is in deep mourning.” It added no further details.
Bona’s headquarters are located in central Beijing next to the U-Town Mall in Chaoyang district. Bona Film Group founder and chairman Yu Dong will lead the funeral committee for his colleague’s passing, the company has said.
Huang came to Bona in 2009 from rival cinema chain China Film Stellar, where he had previously been chairman and general manager, among other roles.
Many in the film industry were shaken by the sudden loss, posting candle emojis or messages of grief.
Director...
In a brief statement posted to social media late Wednesday, Bona wrote that he had died on June 10, saying: “Our entire company is in deep mourning.” It added no further details.
Bona’s headquarters are located in central Beijing next to the U-Town Mall in Chaoyang district. Bona Film Group founder and chairman Yu Dong will lead the funeral committee for his colleague’s passing, the company has said.
Huang came to Bona in 2009 from rival cinema chain China Film Stellar, where he had previously been chairman and general manager, among other roles.
Many in the film industry were shaken by the sudden loss, posting candle emojis or messages of grief.
Director...
- 6/10/2020
- by Rebecca Davis
- Variety Film + TV
Chinese moviegoers can expect to see Dante Lam’s “The Rescue,” Jackie Chan film “Vanguard” and two titles involving helmer Zhang Yimou this year, says a top Chinese distribution executive. He also confirmed National Day releases for two propaganda films — the first concrete information on upcoming theatrical debuts for new titles in months.
China’s cinemas shuttered in late January to stop the spread of the novel coronavirus. A bevy of blockbusters expecting to see record box office returns over the Lunar New Year holiday were pulled at the eleventh hour and have not been given new release dates.
But new information from Fu Ruoqing, chairman of major state-owned distributor Huaxia, says audiences will be able to catch the delayed Chinese New Year films “The Rescue,” Dante’s epic actioner about the Chinese coast guard, and Stanley Tong’s “Vanguard” in the second half of 2020, as well as Zhang’s new spy thriller “Impasse.
China’s cinemas shuttered in late January to stop the spread of the novel coronavirus. A bevy of blockbusters expecting to see record box office returns over the Lunar New Year holiday were pulled at the eleventh hour and have not been given new release dates.
But new information from Fu Ruoqing, chairman of major state-owned distributor Huaxia, says audiences will be able to catch the delayed Chinese New Year films “The Rescue,” Dante’s epic actioner about the Chinese coast guard, and Stanley Tong’s “Vanguard” in the second half of 2020, as well as Zhang’s new spy thriller “Impasse.
- 5/18/2020
- by Rebecca Davis
- Variety Film + TV
The Zhongying Golden Palm Cinema in Urumqi became the first movie theater in China to reopen its doors in the midst of the coronavirus pandemic (via Variety). Urumqi is the capital of far western China’s Xinjiang region. The theater closed January 26 and its doors remained shut until the soft opening Monday, March 16. The theater was home to 22 movie screenings among several second-run Chinese titles: “Liberation,” “My People, My Country,” “Sheep Without a Shepherd,” and the animated film “Spycies.” Four children’s movies also screened, including three entries in the “Alibaba” franchise. The theater tried to entice its members to come see a movie by offering free screenings for parents and children, but not a single moviegoer showed up on day one.
“We can’t stay closed forever,” the theater operator said in a statement. “We can only cooperate with the notices, and test the situation a bit, and see...
“We can’t stay closed forever,” the theater operator said in a statement. “We can only cooperate with the notices, and test the situation a bit, and see...
- 3/16/2020
- by Zack Sharf
- Indiewire
At least one cinema in China’s far west officially reopened its doors Monday after shuttering for nearly two months due to coronavirus prevention measures, it has said — but no viewers came the first day.
The Zhongying Golden Palm Cinema in Urumqi, the capital of China’s vast northwestern region of Xinjiang, attempted a soft re-open on Monday for the first time since January 26, announcing 22 scheduled screenings on its official social media account the night before.
It chose to run a selection of four second-run Chinese titles — two patriotic films made to praise the Communist Party, “Liberation” and “My People, My Country,” crime thriller “Sheep Without a Shepherd” and animal animation “Spycies” — and four other Chinese animated titles for children, including three from the low-budget “Alibaba” franchise. Parents who are members of the cinema could bring their children and watch for free, while non-members were asked to pay a nominal...
The Zhongying Golden Palm Cinema in Urumqi, the capital of China’s vast northwestern region of Xinjiang, attempted a soft re-open on Monday for the first time since January 26, announcing 22 scheduled screenings on its official social media account the night before.
It chose to run a selection of four second-run Chinese titles — two patriotic films made to praise the Communist Party, “Liberation” and “My People, My Country,” crime thriller “Sheep Without a Shepherd” and animal animation “Spycies” — and four other Chinese animated titles for children, including three from the low-budget “Alibaba” franchise. Parents who are members of the cinema could bring their children and watch for free, while non-members were asked to pay a nominal...
- 3/16/2020
- by Rebecca Davis
- Variety Film + TV
Jia Zhangke, one of China’s most acclaimed directors, is at the Berlin Film Festival for the world premiere of his first new documentary in a decade, “Swimming Out Till the Sea Turns Blue,” which is screening in the Berlinale Special section.
Featuring personal recollections of three of China’s most acclaimed writers, the film is the third part of a trilogy about the arts in China, following the 2005’s “Dong,” about Chinese painter Liu Xiaodong, and 2006’s “Useless,” about fashion designer Ma Ke.
Jia’s last documentary was 2011’s “I Wish I Knew,” which screened in Un Certain Regard at Cannes. His feature films, meanwhile, have always expressed an interest in a documentary-like realist style.
“I feel I’ve always been trying to knock down the barrier between documentary and fiction,” he told Variety.
“The most important thing about documentaries is that they help people understand and remember what we’ve lived through.
Featuring personal recollections of three of China’s most acclaimed writers, the film is the third part of a trilogy about the arts in China, following the 2005’s “Dong,” about Chinese painter Liu Xiaodong, and 2006’s “Useless,” about fashion designer Ma Ke.
Jia’s last documentary was 2011’s “I Wish I Knew,” which screened in Un Certain Regard at Cannes. His feature films, meanwhile, have always expressed an interest in a documentary-like realist style.
“I feel I’ve always been trying to knock down the barrier between documentary and fiction,” he told Variety.
“The most important thing about documentaries is that they help people understand and remember what we’ve lived through.
- 2/24/2020
- by Rebecca Davis
- Variety Film + TV
Just two Us studio films, Avengers: Endgame and Fast & Furious Presents: Hobbs And Shaw, made it into the year-end top ten.
China’s box office increased by 5.4% to $9.2bn (RMB64.3bn) in 2019, according to figures from the China Film Administration, mostly off the back of a small number of out-sized local releases.
Local films accounted for 64% of total box office with a combined haul of $5.9bn (RMB41.2bn), despite a slowdown in local production due to increased censorship and the fallout from the tax scandal in 2018. Hollywood and other imported titles saw their market share decline further as Chinese films...
China’s box office increased by 5.4% to $9.2bn (RMB64.3bn) in 2019, according to figures from the China Film Administration, mostly off the back of a small number of out-sized local releases.
Local films accounted for 64% of total box office with a combined haul of $5.9bn (RMB41.2bn), despite a slowdown in local production due to increased censorship and the fallout from the tax scandal in 2018. Hollywood and other imported titles saw their market share decline further as Chinese films...
- 1/6/2020
- by 14¦Screen staff¦0¦
- ScreenDaily
Hollywood films had a historically unsuccessful year at the China box office in 2019, data from Chinese authorities and online ticketing platform Maoyan show, although the country’s theatrical revenues rose to a new all-time high.
American titles accounted for just two of the country’s top ten grossers last year, with “Avengers: Endgame” placing third and “Fast & Furious Presents: Hobbs & Shaw” placing tenth. Meanwhile, nine out of China’s top ten highest grossing films of all time are now Chinese, four of which came out in 2019. “Avengers: Endgame” is the only foreign title to remain on the list.
Yet even without Hollywood, the Chinese market continued to grow. Box office revenue rose 5.4% to a new record of $9.2 billion (RMB64.3 billion) in 2019 — albeit at a slower rate of growth than its 9% rise last year.
Chinese animation “Ne Zha,” Chinese new year sci-fi blockbuster “The Wandering Earth,” and “Avengers” were...
American titles accounted for just two of the country’s top ten grossers last year, with “Avengers: Endgame” placing third and “Fast & Furious Presents: Hobbs & Shaw” placing tenth. Meanwhile, nine out of China’s top ten highest grossing films of all time are now Chinese, four of which came out in 2019. “Avengers: Endgame” is the only foreign title to remain on the list.
Yet even without Hollywood, the Chinese market continued to grow. Box office revenue rose 5.4% to a new record of $9.2 billion (RMB64.3 billion) in 2019 — albeit at a slower rate of growth than its 9% rise last year.
Chinese animation “Ne Zha,” Chinese new year sci-fi blockbuster “The Wandering Earth,” and “Avengers” were...
- 1/3/2020
- by Rebecca Davis
- Variety Film + TV
It wasn’t just “Star Wars: The Rise of Skywalker” — with its dismal $12 million opening weekend — that was a Middle Kingdom misfire for Hollywood in 2019. When year-end figures for the China box office are confirmed next week, it’s likely that only two Hollywood titles will be among the 10 top-grossing titles of 2019, compared to five out of 10 last year and overwhelming market domination not so long before that.
“This has to be the worst performance for Hollywood in China since 2008,” said Chris Fenton, previously China-based head of motion pictures at Dmg and now senior advisor to Idw Media Holdings and a trustee of the U.S.-Asia Institute. As recently as 2012 and 2013, Fenton recalls, there were weekends “when 90% of the box office in China was from foreign films… China used to tax its exhibitors if they generated more than 50% box office from foreign films. That’s not needed anymore.”
Instead,...
“This has to be the worst performance for Hollywood in China since 2008,” said Chris Fenton, previously China-based head of motion pictures at Dmg and now senior advisor to Idw Media Holdings and a trustee of the U.S.-Asia Institute. As recently as 2012 and 2013, Fenton recalls, there were weekends “when 90% of the box office in China was from foreign films… China used to tax its exhibitors if they generated more than 50% box office from foreign films. That’s not needed anymore.”
Instead,...
- 12/24/2019
- by Patrick Frater
- Variety Film + TV
Streaming and tech firms are key to the development of the film industry in China, which is home to far more internet users than cinema-goers, Chinese tech giant Tencent and online ticketing platform Maoyan said in a joint year-end report. One statistic puts this in stark perspective: While 66 million movie tickets were sold for last year’s top 10 highest-grossing films in China, those same films have been viewed 503 million times online.
“Internet films” commissioned by online platforms have also ballooned as a genre, while hit IPs such as internet novels and games are increasingly being mined for their theatrical potential in a country where finding a good story remains one of the industry’s biggest challenges. Meanwhile, online ticketing has boomed and streaming channels with their large numbers of paying users and lakes of data offer new commercial possibilities.
“Cross-industry cooperation with internet companies has generated a new industry ecosystem,...
“Internet films” commissioned by online platforms have also ballooned as a genre, while hit IPs such as internet novels and games are increasingly being mined for their theatrical potential in a country where finding a good story remains one of the industry’s biggest challenges. Meanwhile, online ticketing has boomed and streaming channels with their large numbers of paying users and lakes of data offer new commercial possibilities.
“Cross-industry cooperation with internet companies has generated a new industry ecosystem,...
- 12/23/2019
- by Rebecca Davis
- Variety Film + TV
The Chinese box office has broken its all-time yearly record, with local films accounting for eight of the top 10 movies so far in 2019 and a few more anticipated releases yet to come. The previous record total, set last year, of RMB60.7 billion – $8.67 billion at current conversion rates – was overtaken last Friday, according to data from online ticketing agency Maoyan.
With nearly two weeks to go until the end of the year, and a clutch of big titles to be released during the busy Christmas season, 2019’s takings could show several percentage points of growth from last year. Maoyan chose not to issue a forecast, noting that some 2019 releases remain fluid even at this late stage.
The record-breaking haul seemed an unlikely outcome throughout the first half of the year, when the local industry was dogged by uncertainty caused by the Fan Bingbing tax scandal. That triggered a sharp slowdown in...
With nearly two weeks to go until the end of the year, and a clutch of big titles to be released during the busy Christmas season, 2019’s takings could show several percentage points of growth from last year. Maoyan chose not to issue a forecast, noting that some 2019 releases remain fluid even at this late stage.
The record-breaking haul seemed an unlikely outcome throughout the first half of the year, when the local industry was dogged by uncertainty caused by the Fan Bingbing tax scandal. That triggered a sharp slowdown in...
- 12/18/2019
- by Patrick Frater
- Variety Film + TV
Cmc Pictures has acquired rights in North America to “The Rescue,” the Chinese big-budget action film that is expected to dominate Chinese New Year.
The distributor will release the film in theaters on Jan. 25, 2020 in the U.S. and Canada, Australia, New Zealand and the U.K.
The film is directed by Dante Lam and reunites the Hong Kong director with his regular star and “Mekong” partner Eddie Peng.
The timing puts the film in a day and date pattern synchronized with its outing in mainland China. That capitalizes on Chinese social media reactions, and minimizes cross-border online piracy.
The story focuses on five characters who form the nucleus of a Coastguard Rescue team. They face diverse emergencies in the air and at sea that force them into joint problem-solving and reveal their different personalities. Alongside Peng, the cast includes Xin Zhilei (“Crosscurrent”) as a female helicopter pilot, Wang Yanlin (“Operation Red Sea”), Lan Yingying,...
The distributor will release the film in theaters on Jan. 25, 2020 in the U.S. and Canada, Australia, New Zealand and the U.K.
The film is directed by Dante Lam and reunites the Hong Kong director with his regular star and “Mekong” partner Eddie Peng.
The timing puts the film in a day and date pattern synchronized with its outing in mainland China. That capitalizes on Chinese social media reactions, and minimizes cross-border online piracy.
The story focuses on five characters who form the nucleus of a Coastguard Rescue team. They face diverse emergencies in the air and at sea that force them into joint problem-solving and reveal their different personalities. Alongside Peng, the cast includes Xin Zhilei (“Crosscurrent”) as a female helicopter pilot, Wang Yanlin (“Operation Red Sea”), Lan Yingying,...
- 12/5/2019
- by Patrick Frater
- Variety Film + TV
Cinema Libre Studio has acquired Chinese drama “Enter the Forbidden City” and will release it in the U.S. in early 2020.
Directed by female filmmaker Hu Mei and written by Zou Jingzhi, the historical epic won the Chinese American Film Festival’s top prizes for best director and best feature film Tuesday night at an awards ceremony in Los Angeles. Hu is one of China’s so-called Fifth Generation directors.
It will have its U.S. premiere at the festival later this month, with screenings on Nov. 17, 20 and 21. Set in the Qing dynasty 230 years ago, the film brings to life the historical origins of Peking opera through the tale of two young opera singers who risk their lives to perform for the emperor at a special celebration for his 80th birthday.
Made with a budget of about $14.3 million (RMB100 million), it was distributed in China by state-owned Huaxia but made...
Directed by female filmmaker Hu Mei and written by Zou Jingzhi, the historical epic won the Chinese American Film Festival’s top prizes for best director and best feature film Tuesday night at an awards ceremony in Los Angeles. Hu is one of China’s so-called Fifth Generation directors.
It will have its U.S. premiere at the festival later this month, with screenings on Nov. 17, 20 and 21. Set in the Qing dynasty 230 years ago, the film brings to life the historical origins of Peking opera through the tale of two young opera singers who risk their lives to perform for the emperor at a special celebration for his 80th birthday.
Made with a budget of about $14.3 million (RMB100 million), it was distributed in China by state-owned Huaxia but made...
- 11/7/2019
- by Rebecca Davis
- Variety Film + TV
China Censorship Casualty ‘Better Days’ Finally Gets Local Release Date; Well Go Working On U.S. Bow
Exclusive: Another casualty of China’s crackdown on potentially sensitive local films this past summer has been given a lifeline. Derek Tsang’s Better Days will release this Friday in the Middle Kingdom after being okayed just this week. Well Go USA has the movie domestically and was forced to postpone the release this summer when Better Days was shelved by the Chinese authorities. Well Go says it is now finalizing plans for a U.S. date, but nothing is confirmed as yet.
The youth drama, which was also previously pulled from the Berlin Film Festival, focuses on issues of suicide, bullying and sexual abuse. A synopsis calls it a “melodramatic thriller” that “paints a bleak picture of an oppressive society, in the guise of a gripping fairy-tale love story.”
When it was originally kiboshed, we reported that among the vast number of ministries required to approve its release, there...
The youth drama, which was also previously pulled from the Berlin Film Festival, focuses on issues of suicide, bullying and sexual abuse. A synopsis calls it a “melodramatic thriller” that “paints a bleak picture of an oppressive society, in the guise of a gripping fairy-tale love story.”
When it was originally kiboshed, we reported that among the vast number of ministries required to approve its release, there...
- 10/22/2019
- by Nancy Tartaglione
- Deadline Film + TV
The first Hollywood blockbusters to hit China after the country’s big National Day holiday have, as expected, swept away holdover patriotic titles that had previously ruled the box office. “Maleficent: Mistress of Evil” edged out another new release, “Gemini Man,” to lead the pack with a $22.5 million opening weekend.
While Disney’s “Maleficent” arrived in China day-and-date with the U.S., the Ang Lee-directed “Gemini Man” hit theaters stateside a week before on Oct. 11. It grossed $21 million in its mainland opening, according to data from consultancy Artisan Gateway.
Chinese user reviews for “Maleficent” were mixed, giving the film a 9.1 and 8.8 rating out of 10 on the Maoyan and Taopiaopiao ticketing platforms, respectively, but just 6.2 on the more discerning Douban site. Opinions of “Gemini Man” were less polarized, with users according it an 8.0, an 8.1 and a 7.1 score on the three platforms.
On Maoyan, most “Maleficent” commenters expressed admiration for Angelina Jolie...
While Disney’s “Maleficent” arrived in China day-and-date with the U.S., the Ang Lee-directed “Gemini Man” hit theaters stateside a week before on Oct. 11. It grossed $21 million in its mainland opening, according to data from consultancy Artisan Gateway.
Chinese user reviews for “Maleficent” were mixed, giving the film a 9.1 and 8.8 rating out of 10 on the Maoyan and Taopiaopiao ticketing platforms, respectively, but just 6.2 on the more discerning Douban site. Opinions of “Gemini Man” were less polarized, with users according it an 8.0, an 8.1 and a 7.1 score on the three platforms.
On Maoyan, most “Maleficent” commenters expressed admiration for Angelina Jolie...
- 10/21/2019
- by Rebecca Davis
- Variety Film + TV
Patriotic thriller “The Captain” held on to the top spot at the Chinese box office for the second weekend, again leading from propaganda omnibus “My People, My Country.”
“The Captain,” also known as “The Chinese Pilot” earned $34.9 million according to consultancy Artisan Gateway, for a two-week cumulative of $343 million. The cumulative for “People,” which had a huge opening day on Sept. 30, is higher still, at $362 million.
Both films were released in time for the National Day celebrations and the week-long public holiday in China. So large a large drop in individual and cumulative weekend scores was to be expected after the return to work. But per screening average grosses, at over $350 a time, remained very solid.
One of the few newcomers to make it into the chart was Hong Kong-made crime thriller “A Witness Out of the Blue,” starring the ever-popular Louis Koo. It made $14.8 million in just two days after a Saturday release.
“The Captain,” also known as “The Chinese Pilot” earned $34.9 million according to consultancy Artisan Gateway, for a two-week cumulative of $343 million. The cumulative for “People,” which had a huge opening day on Sept. 30, is higher still, at $362 million.
Both films were released in time for the National Day celebrations and the week-long public holiday in China. So large a large drop in individual and cumulative weekend scores was to be expected after the return to work. But per screening average grosses, at over $350 a time, remained very solid.
One of the few newcomers to make it into the chart was Hong Kong-made crime thriller “A Witness Out of the Blue,” starring the ever-popular Louis Koo. It made $14.8 million in just two days after a Saturday release.
- 10/14/2019
- by Patrick Frater
- Variety Film + TV
“Joker” is showing impressive traction internationally with a second weekend of $123.7 million on 24,149 screens in 79 markets — a holdover decline of just 29%.
Joaquin Phoenix’s psychological thriller has totaled $351.2 million outside North America after only 12 days in release. And with $192 million in domestic grosses, “Joker” has now topped $543 million worldwide for Warner Bros.
The film declined by only 24% in Europe and by 26% in Latin America. The U.K. has been top market and saw a 22% decline to $12 million, representing a 62% share of the country’s top five films. The British total has hit $36.9 million.
Mexico declined 37% to $8.6 million at 3,620 screens for a 68% share of the top five and a $28.9. million two-week total. South Korea saw a 53% slide to $6.6 million at 1,312 screens for a 50% share and a two-week take of $28 million.
“Joker” scored a $10.3 million opening in France for a 71% share. It was the biggest opening for a Warner Bros. film in...
Joaquin Phoenix’s psychological thriller has totaled $351.2 million outside North America after only 12 days in release. And with $192 million in domestic grosses, “Joker” has now topped $543 million worldwide for Warner Bros.
The film declined by only 24% in Europe and by 26% in Latin America. The U.K. has been top market and saw a 22% decline to $12 million, representing a 62% share of the country’s top five films. The British total has hit $36.9 million.
Mexico declined 37% to $8.6 million at 3,620 screens for a 68% share of the top five and a $28.9. million two-week total. South Korea saw a 53% slide to $6.6 million at 1,312 screens for a 50% share and a two-week take of $28 million.
“Joker” scored a $10.3 million opening in France for a 71% share. It was the biggest opening for a Warner Bros. film in...
- 10/13/2019
- by Dave McNary
- Variety Film + TV
‘Joker’ (Photo credit: Warner Bros)
Is Todd Phillips’ Joker an enthralling masterpiece or a disturbing and deeply derivative incitement to commit violence? The comic book-inspired movie has polarised the critics but audiences in Australia and around the world have voted with their feet.
The action adventure starring Joaquin Phoenix as the twisted, disenfranchised clown-for-hire and stand-up comic in 1980s Gotham smashed industry opening records for October in Oz, the Us and internationally last weekend.
Meanwhile Rachel Griffiths’ Ride Like a Girl now ranks as the top-grossing Australian release of the year after racing through its second weekend. Ticket sales surged thanks to the school holidays and the new releases including Indian import War and Chinese dramas My People, My Country and The Captain.
The top 20 titles harvested $21.9 million from Thursday through Sunday, 80 per cent up on the previous weekend, according to Numero.
Joker punched up $9.7 million and $11.9 million including the Monday Labor Day holiday.
Is Todd Phillips’ Joker an enthralling masterpiece or a disturbing and deeply derivative incitement to commit violence? The comic book-inspired movie has polarised the critics but audiences in Australia and around the world have voted with their feet.
The action adventure starring Joaquin Phoenix as the twisted, disenfranchised clown-for-hire and stand-up comic in 1980s Gotham smashed industry opening records for October in Oz, the Us and internationally last weekend.
Meanwhile Rachel Griffiths’ Ride Like a Girl now ranks as the top-grossing Australian release of the year after racing through its second weekend. Ticket sales surged thanks to the school holidays and the new releases including Indian import War and Chinese dramas My People, My Country and The Captain.
The top 20 titles harvested $21.9 million from Thursday through Sunday, 80 per cent up on the previous weekend, according to Numero.
Joker punched up $9.7 million and $11.9 million including the Monday Labor Day holiday.
- 10/7/2019
- by The IF Team
- IF.com.au
Two Chinese films – both patriotic, but of very different genres – dominated the weekend box office in China. Both scored more than $100 million and extended their already stunning midweek tallies.
According to data from Artisan Gateway, Bona Film Group’s “The Captain” (aka “The Chinese Pilot”) earned $103 million, narrowly ahead of the state-backed omnibus film “My People, My Country,” which enjoyed a Friday-Sunday score of $102 million.
Both titles had been released on Monday, the day before the Oct. 1 National Day and had built up a head of steam, ahead of Shanghai Film Group’s “The Climbers,” a starry, nationalist tale about climbing Mt. Everest.
After six days on release, “People” had amassed $290 million, while “The Captain” had accumulated $253 million. Performing less well than anticipated, “The Climbers” ended the long holiday week with $108 million, including $31.3 million over the weekend.
“Abominable,” a Chinese-u.S. co-production between Pearl Studios and Universal, and boasting patriotic Chinese tones of its own,...
According to data from Artisan Gateway, Bona Film Group’s “The Captain” (aka “The Chinese Pilot”) earned $103 million, narrowly ahead of the state-backed omnibus film “My People, My Country,” which enjoyed a Friday-Sunday score of $102 million.
Both titles had been released on Monday, the day before the Oct. 1 National Day and had built up a head of steam, ahead of Shanghai Film Group’s “The Climbers,” a starry, nationalist tale about climbing Mt. Everest.
After six days on release, “People” had amassed $290 million, while “The Captain” had accumulated $253 million. Performing less well than anticipated, “The Climbers” ended the long holiday week with $108 million, including $31.3 million over the weekend.
“Abominable,” a Chinese-u.S. co-production between Pearl Studios and Universal, and boasting patriotic Chinese tones of its own,...
- 10/7/2019
- by Patrick Frater
- Variety Film + TV
The fall awards season has begun in earnest, with “Judy” and its strong Best Actress candidate playing wide in its second weekend, and the opening dates for three potential Best Actor possibilities in one early October weekend.
“Joker,” of course, is wide, while Netflix’s “Dolemite Is My Name” and its limited dates had unknown results. But “Pain and Glory” is a return to form for Pedro Almodovar and his long time relationship with his domestic distributor, Sony Pictures Classics. Its strong initial New York/Los Angeles numbers show it outpaced all specialized subtitled films released this year and a few prior years besides other than possibly “Roma.”
Meanwhile, three Asian limited releases made the top 12. These include two action-oriented titles from India, but also the fascinating response to “My People, My Country,” an out-and-out propaganda-minded film that opened in 70 theaters right after its homeland Revolution holliday release.
Opening
Pain...
“Joker,” of course, is wide, while Netflix’s “Dolemite Is My Name” and its limited dates had unknown results. But “Pain and Glory” is a return to form for Pedro Almodovar and his long time relationship with his domestic distributor, Sony Pictures Classics. Its strong initial New York/Los Angeles numbers show it outpaced all specialized subtitled films released this year and a few prior years besides other than possibly “Roma.”
Meanwhile, three Asian limited releases made the top 12. These include two action-oriented titles from India, but also the fascinating response to “My People, My Country,” an out-and-out propaganda-minded film that opened in 70 theaters right after its homeland Revolution holliday release.
Opening
Pain...
- 10/6/2019
- by Tom Brueggemann
- Indiewire
Two top Hollywood stars had their latest films hit arthouse theaters this weekend, with each finding very different fates at the box office. While Antonio Banderas’ “Pain and Glory” earned the top per screen average of the weekend, Natalie Portman’s “Lucy in the Sky” fell to Earth after receiving poor reviews.
“Pain and Glory,” the latest film from famed Spanish director Pedro Almodovar, has received critical acclaim since its May premiere at the Cannes Film Festival, where Banderas received the Best Actor award. Released by Sony Pictures Classics on four screens in Los Angeles and New York, the film grossed $160,087 for an average of $40,022. It’s the largest per screen average for a Spc release since the Oscar-winning “Call Me by Your Name” in November 2017.
Also Read: Antonio Banderas Didn't Want to Impersonate Pedro Almodóvar for 'Pain and Glory' (Video)
“Pain and Glory” stars Banderas as Salvador Mallo,...
“Pain and Glory,” the latest film from famed Spanish director Pedro Almodovar, has received critical acclaim since its May premiere at the Cannes Film Festival, where Banderas received the Best Actor award. Released by Sony Pictures Classics on four screens in Los Angeles and New York, the film grossed $160,087 for an average of $40,022. It’s the largest per screen average for a Spc release since the Oscar-winning “Call Me by Your Name” in November 2017.
Also Read: Antonio Banderas Didn't Want to Impersonate Pedro Almodóvar for 'Pain and Glory' (Video)
“Pain and Glory” stars Banderas as Salvador Mallo,...
- 10/6/2019
- by Jeremy Fuster
- The Wrap
Joaquin Phoenix showed plenty of worldwide drawing power as “Joker” dominated international moviegoing with $140.5 million from 22,552 screens in 73 markets for Warner Bros.
Along with the North American results, the worldwide opening weekend totaled an impressive $234 million, outperforming expectations. Directed by Todd Phillips, “Joker” has been the subject of scrutiny in weeks leading up to its release over fears that the disturbing origin story of Batman’s infamous foe could inspire violence — a scenario had not materialized as of Sunday.
“Joker” generated the biggest 2019 opening for a Warner Bros. title in 39 markets including UK, Russia, Italy, Spain, Poland, UAE, Japan, Korea, Indonesia, Brazil, Mexico and Australia. It was also the biggest October opening weekend in 21 markets including Spain, UAE, Brazil, Mexico and Australia and the best opening weekend in half a dozen markets including Holland, Italy, Japan, Korea and Chile.
“Joker” also became Warner’s top opening weekend for the European...
Along with the North American results, the worldwide opening weekend totaled an impressive $234 million, outperforming expectations. Directed by Todd Phillips, “Joker” has been the subject of scrutiny in weeks leading up to its release over fears that the disturbing origin story of Batman’s infamous foe could inspire violence — a scenario had not materialized as of Sunday.
“Joker” generated the biggest 2019 opening for a Warner Bros. title in 39 markets including UK, Russia, Italy, Spain, Poland, UAE, Japan, Korea, Indonesia, Brazil, Mexico and Australia. It was also the biggest October opening weekend in 21 markets including Spain, UAE, Brazil, Mexico and Australia and the best opening weekend in half a dozen markets including Holland, Italy, Japan, Korea and Chile.
“Joker” also became Warner’s top opening weekend for the European...
- 10/6/2019
- by Dave McNary
- Variety Film + TV
While official policy is still unclear, buyers are avoiding Us indie, Swedish and South Korean films.
The big question being pondered by sales agents trying to sell into China in recent months is whether the country’s censorship regime will relax following the National Day holidays, which end on Monday (Oct 7).
A key box office period usually reserved for local films, this year’s holiday has been particularly sensitive as it also celebrated the 70th anniversary of the founding of the People’s Republic of China. Chinese cinemas have been mostly showing nationalistic local films during the holidays (Oct 1-7), including The Climbers,...
The big question being pondered by sales agents trying to sell into China in recent months is whether the country’s censorship regime will relax following the National Day holidays, which end on Monday (Oct 7).
A key box office period usually reserved for local films, this year’s holiday has been particularly sensitive as it also celebrated the 70th anniversary of the founding of the People’s Republic of China. Chinese cinemas have been mostly showing nationalistic local films during the holidays (Oct 1-7), including The Climbers,...
- 10/5/2019
- by 14¦Screen staff¦0¦
- ScreenDaily
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