Core Viewpoint - The article discusses the current state of the Chinese film industry, highlighting the challenges it faces in retaining audiences and the impact of changing viewer demographics on box office performance [4][6][10]. Group 1: Box Office Performance - The summer box office in China reached nearly 120 billion, surpassing the same period last year, indicating a recovery despite earlier struggles [6]. - The top five films of the summer included "Nanjing Photo Studio," "Wandering Monster," "Chasing the Wind," "Lychee of Chang'an," and "Jurassic World: Rebirth," with the first three receiving ratings above 8 on Douban [6]. - "Nezha 2" achieved a remarkable box office of 15 billion, leading to mixed opinions on whether it expanded the market's potential or exhausted it [5][6]. Group 2: Audience Demographics - The total number of viewers during the summer season decreased by nearly 200 million compared to 2023, with an average cinema occupancy rate of only 6.9% [7][10]. - The average age of moviegoers increased from 27.7 years in 2021 to 32.5 years in 2023, suggesting that the same audience is simply aging [7][10]. Group 3: Industry Challenges - The article emphasizes that the Chinese cinema industry is losing its audience, with the relationship between viewers and films changing significantly over the years [7][10]. - The rapid growth of cinema infrastructure in lower-tier cities and the introduction of low-cost tickets previously attracted new audiences, but this growth has plateaued [9][10]. - The pandemic and subsequent cinema closures have disrupted the viewing habits of the new generation, leading to a decline in cinema attendance [10][11]. Group 4: Changing Consumption Patterns - The rise of alternative entertainment options, such as short videos and online games, has made it more challenging for cinemas to attract viewers [10][11]. - The cost of attending cinemas has increased, with ticket prices now averaging between 40 to 50 yuan or more, alongside the time commitment required for a film [13][12]. Group 5: Emotional Engagement and Content Strategy - The article suggests that films need to connect with social emotions to become relevant and generate discussions on social media, transforming them into "social currency" [14][15]. - Successful films like "The Disappeared Her" and "Nanjing Photo Studio" have effectively captured contemporary societal anxieties, leading to significant box office success [14][20]. - The focus on creating films that resonate with specific audience segments rather than attempting to appeal to the broadest possible audience is emphasized as a more sustainable strategy [20][18].

Group 1 - The cinema industry is expanding, but audience attendance is sharply declining, with a significant drop in box office revenue compared to pre-pandemic levels [5][9][10] - In 2024, the total box office revenue was only 425 billion yuan, a decrease of one-third from 2019, despite having 1.3 million cinemas and 81,000 screens [9][10] - The annual attendance rate for cinemas fell to a historical low of 5.7% in 2024, indicating that a typical screening may have only five to six viewers in a hundred-seat theater [12] Group 2 - The film industry has relied heavily on major holiday periods and blockbuster films for revenue, with holiday box office accounting for over 70% of total revenue since 2022 [20][21] - The Spring Festival box office has become the dominant force, with the 2018 Spring Festival achieving a record of 5.771 billion yuan in just seven days [22] - However, the success of blockbuster films is not guaranteed, as evidenced by recent films that failed to perform despite strong marketing and star power [37] Group 3 - The average ticket price in first-tier cities reached 49.6 yuan by August 2025, a 16% increase since 2014, while prices in lower-tier cities have also risen significantly [47] - The average age of moviegoers has increased from 27.7 years in 2021 to 32.5 years in 2025, indicating a shift in the demographic of cinema audiences [50] - For many young people, going to the cinema is no longer a social necessity or a standard date option, but rather one of many entertainment choices [51]