此次影展为期4天，《捕风追影》《女孩》《周处除三害》《封神第一部：朝歌风云》《南京照相馆》 《好东西》《但愿人长久》等22部影片参与放映。影展期间，大鹏、魏德圣、王宝强、秦天、高朋等影 片主创人员与观众面对面交流。 本次活动由中国电影导演协会会长贾樟柯主持，香港电影导演会会长郑保瑞、中国电影导演协会秘书长 王红卫、广东省委宣传部电影管理处处长夏青文、广东影视综合服务平台主任赵梦菲，以及青年导演魏 书钧、第五届青葱计划导演黄婷婷等人士亮相开幕式现场。 《九龙城寨之围城》于2024年上映，由古天乐、林峯、刘俊谦、伍允龙等领衔主演，讲述二十世纪八十 年代，一位落难青年误闯九龙城寨，进而引发一场恶人夺城、众人殊死守护的风云之战。在第43届香港 电影金像奖颁奖典礼上，该片获得最佳电影、最佳导演等9个奖项。 此次影展开幕式上，郑保瑞谈到，该片努力在类型片的框架下保留城寨里真实的烟火气，"我拍的时候 一直提醒自己，我不是拍英雄电影，主角都是跟我一样在香港街头长大的人，只是他们争取东西的方法 是打架，希望观众能够看到，哪怕一点点人的味道"。 中新网广州1月11日电 (记者 程景伟)由中国电影导演协会主办的2026青葱青年影展 ...

Core Viewpoint - The film "The Stage" emphasizes the importance of survival and the practicalities of life in a chaotic world, contrasting with the more dramatic and existential themes of traditional Chinese operas like "Farewell My Concubine" [5][7][10] Group 1: Themes and Characters - The main character, Huo Xiting, represents a stabilizing force in a tumultuous environment, adept at managing various challenges while maintaining the integrity of the performance [3][4] - The character dynamics illustrate different approaches to survival, with each character embodying unique traits that contribute to the overall narrative [4][8] - The film critiques the notion of perfection, suggesting that the focus should be on completing the performance rather than achieving an idealized version of success [7][10] Group 2: Audience Reception and Cultural Context - The film resonates with contemporary audiences by addressing workplace anxieties and the need for practical solutions in everyday life, rather than grandiose ideals [9][10] - "The Stage" fits into a broader trend of films that explore the theme of "living people's lives," focusing on relatable experiences rather than dramatic escapism [9][10] - The film's humor and narrative structure have received mixed reviews, with some critics noting a lack of comedic impact despite its solid foundation as a stage play [8][9]

Core Viewpoint - The article discusses the current state of the Chinese film industry, highlighting a significant decline in audience attendance and box office performance, despite an increase in the number of cinemas and screens. It emphasizes that the industry is facing structural challenges, with a reliance on blockbuster films leading to a lack of diverse content and audience engagement [6][12][20]. Group 1: Box Office Performance - The total box office for the summer season as of July 23, 2025, was only 4.297 billion yuan, significantly lower than the 17.778 billion yuan in 2019 and below half of previous years' averages [8][12]. - The summer box office in June 2025 reached a historical low of 1.91 billion yuan, marking the lowest total in a decade [15]. - Despite a 22.9% year-on-year increase in total box office revenue for the first half of 2025, over half of this revenue (16.09 billion yuan) came from the Spring Festival, primarily driven by the film "Nezha" [12][20]. Group 2: Audience Engagement - Data from the Lighthouse Research Institute indicates that by 2024, 57% of audiences watched only one film throughout the year, with the proportion of viewers under 25 dropping to 21% [21]. - The article suggests that the audience is not abandoning cinema altogether but is instead rejecting films that do not meet their expectations for quality [23][33]. - The film industry is experiencing a loss of creative talent, with many filmmakers feeling pressured to prioritize commercial success over artistic expression [23][26]. Group 3: Industry Structure and Challenges - The current box office revenue-sharing model is deemed unreasonable, with production companies receiving only about 33% of the box office after costs, leading to significant financial losses across the industry [16][20]. - The number of films registered for production decreased by over 20% in the first five months of 2025, indicating a contraction in the industry [26]. - The rising production costs and extended filming timelines are creating a mismatch between supply and demand, further exacerbating audience disappointment [28]. Group 4: Adaptation and Future Directions - Some companies are shifting their focus from traditional film production to broader content creation strategies, such as developing IPs and diversifying revenue streams [29]. - The article notes that smaller films can still succeed if they resonate with audiences, as evidenced by the film "Zhou Chu's Three Harms," which grossed over 600 million yuan despite minimal marketing [31][33]. - The film industry is urged to adapt to changing consumer habits and preferences, integrating with other entertainment forms to reclaim audience attention [31].

Core Viewpoint - The Chinese film industry is experiencing a structural downturn, with a significant decline in audience attendance and box office performance, despite an increase in the number of cinemas and screens [3][4][12]. Group 1: Box Office Performance - As of July 23, 2025, the total box office for the summer season was only 4.297 billion yuan, far below the 17.778 billion yuan recorded in 2019 [8][9]. - The summer box office in 2025 has not even reached half of the figures from previous years, indicating a severe decline in audience engagement [9][10]. - The average number of attendees per screening has been between 2 to 4, with a near 40% empty screening rate [11]. Group 2: Cinema Expansion vs. Audience Decline - Despite the opening of 546 new cinemas in the first half of 2025, the total number of operating cinemas exceeded 13,000, while audience numbers continue to dwindle [12][15]. - The first half of 2025 saw a total box office of 29.231 billion yuan, a 22.9% increase year-on-year, but over half of this revenue came from the Spring Festival, primarily driven by the film "Nezha" [15]. Group 3: Financial Challenges for Cinemas - The cinema revenue model is complex, with only 57% of ticket sales going to cinemas after taxes and fees, leading to financial strain as operational costs remain high [21][23]. - The reliance on blockbuster films for profitability has created a precarious situation, where the failure of a few major releases can severely impact cash flow [20][26]. Group 4: Audience Engagement and Content Quality - A report indicated that 57% of audiences watched only one film in 2024, with a significant drop in attendance among younger viewers [33]. - The decline in audience interest is attributed to a perceived lack of quality in films, leading to a shift in viewing habits towards alternative entertainment options [34][36]. - The film industry is facing a creative crisis, with many filmmakers feeling pressured to prioritize commercial success over artistic expression [36][39]. Group 5: Industry Adaptation and Future Directions - Some companies are shifting their focus from traditional film production to broader IP development, including games and merchandise, to mitigate risks [43]. - Cinemas are exploring new revenue streams by enhancing the consumer experience with additional offerings beyond ticket sales [43][45]. - The industry is at a crossroads, needing to adapt to changing consumer preferences and competition from other entertainment forms to regain audience interest [46].

Core Viewpoint - The article highlights the current challenges faced by the Chinese film industry, indicating a significant decline in audience attendance and box office performance despite an increase in the number of cinemas and screens. The industry is experiencing a structural downturn, with a reliance on blockbuster films leading to financial instability and a lack of diverse content [2][17][49]. Group 1: Box Office Performance - As of July 23, 2025, the total box office for the summer season was only 4.297 billion yuan, far below the pre-pandemic levels of 17.778 billion yuan in 2019 [8][9]. - The summer box office in June 2025 reached a historical low of 1.91 billion yuan, marking the lowest total in a decade [22]. - The overall box office for the first half of 2025 was 29.231 billion yuan, with a year-on-year growth of 22.9%, but over half of this revenue came from the Spring Festival, primarily driven by the film "Nezha: The Devil's Child" [16][30]. Group 2: Audience Trends - Since March 2025, the average number of attendees per cinema has been between 2 to 4, with an empty hall rate approaching 40% [12]. - A report indicated that by 2024, 57% of audiences watched only one film throughout the year, with the proportion of viewers under 25 dropping to 21% [38]. - The audience's departure from cinemas is attributed to a collective disappointment with the quality of films, leading to a perception that many movies are not worth the trip to the theater [40][57]. Group 3: Industry Structure and Financial Health - The number of operating cinemas in China surpassed 13,000, with nearly 80,000 screens, yet the audience continues to decline [13][16]. - The film industry's revenue-sharing model is deemed unreasonable, with production companies receiving only about 33% of the box office revenue after costs, leading to significant annual losses [34][36]. - The industry is heavily reliant on blockbuster films, with only 23 films surpassing 100 million yuan in box office in the first half of 2025, indicating a dangerous dependency on a few successful titles [30][31]. Group 4: Creative Challenges - The film industry is facing a talent drain, with creators under pressure to deliver commercially viable content, leading to a lack of innovative storytelling [41]. - The number of films registered for production decreased by over 20% in the first five months of 2025, reflecting a contraction in the industry [42]. - The rising production costs and extended filming periods are creating a mismatch between market supply and demand, further exacerbating audience dissatisfaction [46]. Group 5: Adaptation and Future Directions - Some companies are shifting focus from traditional film production to broader content creation strategies, such as developing IPs and diversifying revenue streams [51]. - The integration of non-ticket revenue sources, such as merchandise and food sales, is becoming increasingly important for cinemas to sustain operations [51]. - Despite the challenges, there remains a segment of the audience seeking quality films, indicating that there is still potential for growth if the industry can adapt to changing consumer preferences [55][60].