Core Insights - The resurgence of "New Chinese Horror" in popular culture is driven by quality works in gaming and comics, alongside local low-budget horror films exploring folklore, urban legends, and social issues [1][2] - The success of films like "Yuan Yang Lou: Horror" demonstrates the potential for local horror films to resonate with audiences through updated narratives and social themes [2][5] - The marketing strategies for local horror films have evolved to emphasize social experiences and engagement, leveraging social media and event-based promotions [4][5] Group 1: Market Trends - From 2024 to 2025, local horror films are expected to achieve several commercial breakthroughs in box office performance [2] - "Yuan Yang Lou: Horror" has become a benchmark for small-budget films, achieving significant box office success and positive reception [2] - The audience demographic for "Yuan Yang Lou: Horror" shows a notable shift, with nearly 70% female viewers and almost 60% under 25 years old [2] Group 2: Narrative and Content Development - The narrative evolution in local horror films combines traditional horror elements with contemporary social issues, such as female empowerment and workplace anxiety [5][14] - The use of confined settings in horror films enhances the immersive experience, allowing for a more focused and intense atmosphere [5][14] - Despite some advancements, local horror films still face challenges with narrative fatigue and structural limitations, often relying on familiar tropes [14][18] Group 3: Industry Comparisons - Blumhouse Productions and A24 serve as models for local filmmakers, showcasing different approaches to horror film production—Blumhouse focuses on low-budget efficiency while A24 emphasizes artistic expression [6][10] - Blumhouse's success is attributed to its ability to create impactful narratives within budget constraints, while A24's films often explore deeper psychological themes [8][10] - Both companies highlight the importance of brand identity, cost management, and audience trust in the horror genre [10][12] Group 4: Future Opportunities - The integration of folklore and social themes presents a clear direction for local horror films, potentially leading to a new wave of creative opportunities [1][14] - Streaming platforms like Netflix are expanding their horror content, indicating a growing market for diverse horror narratives and sub-genres [12][13] - The local horror film industry must address structural issues and seek to establish stable IP chains to build a loyal audience base [18][19]

在刚刚落幕不久的威尼斯电影节上，导演吉尔莫·德尔·托罗带来了他的最新作品《弗兰肯斯坦》。记者们都很关⼼⼀个"赛博朋克"的问题：这部关于⼈造 ⽣命失控的电影，是否在隐喻AI？ 记者们之所以有此一问，是因为吉尔莫·德尔·托罗此前曾公开表态：他在制作《弗兰肯斯坦》时拒绝使用过多数字特效和绿幕。 我想要真实的场景。我不想要数字的。我不想要人工智能的。我不想要模拟的。我想要传统的工艺。我想要人来绘画、搭建、锤造、抹灰。 即使"陀螺"是奥斯卡最佳导演，也并非所有电影人都同意他的观点。就在今年的威尼斯电影节上，力挺AI介入电影创作的观点也大有市场。 威尼斯电影节甚至下设了一个Reply AI电影节，AI电影与"陀螺"的手工电影共聚一堂，共同接受观众的品评。 在AI横扫全球各行各业的大背景下，电影行业内部却正分裂成"支持AI"和"反对AI"的两大阵营。说这种分裂即将酝酿出一场"内战"也不过分。 分裂的一个重要原因显然是利益相关。在这波AI浪潮中，有些电影人正在或即将获益，他们自然支持AI；有些电影人担心被AI抢了饭碗，或更严重一 点，AI会毁掉电影这门艺术，砸了所有人的饭碗，自然反对AI。 这种争吵改变不了AI进入电影行业的 ...