靴子落地，《东极岛》彻底扑街了。 先是票房远不及预期。8月8日上映，3天票房破2亿，预测总票房近十亿。但半个多月过去，票房却只有 3亿出头，预测总票房更是只有区区4亿。这对于一部耗时多年制作、投资数亿的工业大片来说，是相当 难看的成绩。 票房难以回本的同时，《东极岛》口碑也不容乐观。 它们的豆瓣评分最低都有7.6，均分更是高达8.3，并几乎都通过高口碑获得了超过市场预期（甚至是远 超）的票房，比如《南京照相馆》30亿、《浪浪山小妖怪》15亿+、《捕风追影》10亿+。 但在如此多佳作开启大规模点映的情况下，《东极岛》作为8月的排头兵，却将影片口碑捂得很死，不 仅没有任何点映动作，豆瓣还至今未开分，片方对自己有多少信心，也就可想而知。 该片在豆瓣虽然至今尚未开分，但排名前列的长评普遍只有一两星，从这些大V在豆瓣的权重看，《东 极岛》很难开到一个好看的分数。 但今年暑期档的片子却格外强。从喜剧片《戏台》到动画片《浪浪山小妖怪》，再到同为战争片的《南 京照相馆》，有5部片子的豆瓣评分都在8分+，7分+的影片也有《长安的荔枝》《奇遇》《坏蛋联盟 2》等。 从成品质量、故事文本、演员表现、工业属性等多角度来看，《东极岛》 ...

Group 1 - The overall box office market for the summer of 2025 is bleak, but Chen Peisi's film "Xitai" has grossed over 100 million in just two days, surpassing "Nihang Nihang" which took nine days to reach the same figure [1][3] - The film "Xitai" has received mixed reviews, indicating a potential decline in the long-standing "Chen Peisi myth" [1][4] - The exit of national comedy kings like Chen Peisi and Zhao Benshan from the film industry has had a profound impact on the domestic box office market, which has shifted towards urban middle-class audiences [4][5] Group 2 - The film industry in China has faced structural issues since the 1990s, with a significant reliance on a few successful directors and their works, leading to a fragile middle market [5][6] - The transition from a planned economy to a market economy in the late 1980s and early 1990s led to a crisis in the film industry, with a decline in both the quantity and quality of domestic films [6][7] - The introduction of Hollywood films in the 1990s further exacerbated the challenges faced by domestic productions, as they struggled to compete with the precision and appeal of foreign films [19][20] Group 3 - The real estate boom in the 2000s provided a temporary revival for the film industry, leading to a surge in commercial cinemas and a renewed interest in local films [22][23] - However, the current film market is highly capitalized and entertainment-driven, making it difficult for traditional artists like Chen Peisi and Zhao Benshan to participate meaningfully [24][25] - The absence of crowd-pleasing films has resulted in a weak middle market, which is crucial for sustaining the industry and nurturing talent [25][26] Group 4 - The historical context of the film industry reveals a pattern of misalignment between production and audience interests, leading to a decline in viewership and engagement [10][14] - The lack of a robust middle market has resulted in a reliance on blockbuster films, which can be risky if they fail to perform [26][27] - The current state of the film industry reflects a departure from the grassroots, community-oriented storytelling that characterized earlier successful films [24][31]

Core Viewpoint - The article discusses the significant shift in China's film and television industry from the north to the south, particularly focusing on the Yangtze River Delta region, highlighting the reasons behind this migration and the implications for the industry [3][4][5]. Group 1: Historical Context - For a long time, the film and television industry in China maintained a balance between the north and south, with northern cities like Beijing and Changchun being central to the industry [5]. - The transformation in the location of film projects began around 2010, coinciding with the rapid growth of the Chinese film market, which became the second largest globally by surpassing Japan [5][6]. - The emergence of numerous local film and television industrial parks across the country was a result of increased demand during the industry's peak years [6][7]. Group 2: Current Trends - The northern film industry, particularly in cities like Qingdao, has seen a decline post-pandemic, with fewer large projects and a shift towards short dramas [7][9]. - Qingdao's Oriental Movie Metropolis, once a hub for major productions, is now struggling with low occupancy rates and high operational costs due to its expensive rental prices [11][12]. - In contrast, the southern region, especially the Yangtze River Delta, is experiencing a boom in new industrial parks and projects, with cities like Wuxi and Suzhou becoming popular filming locations [16][18]. Group 3: Factors Influencing Migration - The shift towards the south is attributed to several factors, including better weather conditions for filming, more convenient transportation networks, and supportive government policies in the southern regions [12][13][18]. - The Yangtze River Delta offers a more mature industrial chain, allowing for easier resource mobilization and collaboration among production teams [17][18]. - The financial incentives and subsidies provided by local governments in the south are significantly more attractive compared to those in the north, encouraging production companies to relocate [18][19]. Group 4: Future Outlook - The article suggests that the future of film and television production may lean towards "light asset" models, focusing on smaller, more flexible production facilities that can adapt to changing industry demands [21][22]. - The survival of film and television bases will depend on their ability to offer competitive pricing and comprehensive support services to production teams [21][23]. - The ongoing evolution of the industry indicates that adaptability and resourcefulness will be key for both northern and southern regions as they navigate the changing landscape of film and television production in China [23].