reporter Zhang Jingchao reported from Shanghai
As time goes by, the summer season is about to usher in July, which is recognized as the hottest month of competition. However, as of 19:00 on June 20, the cumulative box office for this summer's summer season was only 1.3 billion yuan.
"The summer season is one of the most important periods. Whether the box office for the whole year (this year) can reach last year depends on the summer season." During the 26th Shanghai International Film Festival (hereinafter referred to as the "SIFF"), in In an interview with a media reporter, Dong said that as the front stop of the summer season, the situation of the Dragon Boat Festival is not good. "So the summer season requires everyone to come up with important films to jointly boost the entire market."
"China Business News" 》The reporter noticed that this year’s Shanghai International Film Festival has specially set up a summer film trade fair, which aims to promote the latest summer films, showcase the latest trends and development trends of the film industry, promote international cultural exchanges and cooperation, and help the world The prosperity and development of the film market.
Liu Yina, director of the Film Promotion Department of the Shanghai Municipal Party Committee, said that although the film market has achieved gratifying results, it also faces challenges. Filmmakers need to innovate content, improve quality, and continue to meet the growing cultural needs of audiences.
Many films have been officially announced for summer release
At the summer film fair, Alibaba Pictures Publicity Director Chen Nan brought many summer films that they participated in the promotion, including "There is a Commissary by the Clouds" and " Customs" Frontline ", " Welcome to My Side ", " Retrograde Life ", " Falling into the Mortal World ", " Under Strangers " and other works. Among these blockbuster summer works, there are youth-themed works starring young actors such as Peng Yuchang and Yu Shi, as well as action blockbusters starring Nicholas Tse and Jacky Cheung; there are real-life themes about middle-aged programmers delivering food after losing their jobs; A "new Chinese style" Chinese comic that brings the traditional mythological themes of China's twenty-eight constellations to the big screen.
Maoyan Movies shared 6 films that will be released in the summer. The comedy " successor plan " directed by Yan Fei and Peng Damo, Shen Teng and Ma Li once again jointly perform, the film is scheduled to be released on July 18; the ancient style animated film "Umbrella Girl" adapted from the original comic IP has been scheduled Released on July 6th; "Decryption", a newly explored commercial genre film directed and written by Chen Sicheng, tells the legendary life of a code-breaking genius; "Manslaughter" director Ke Wenli brings the suspenseful masterpiece "Silent Kill"; "Rebirth" is Ma The second gangster action film directed by Yu Ke is also the second collaboration with Nick Cheung and Ethan Ruan after ""; "Next Scale" stars Shen Teng and Zhang Yuqi, focusing on the situation before the return of Macau in the last century. All the above videos will be available to you soon.
Bona Pictures has brought three films including " A Dream of Red Mansions: The Golden Marriage ", " Legend " and " Dragon Action ". Among them, "Legend", directed by Tang Jili and starring Jackie Chan, has been scheduled for July 12; "A Dream of Red Mansions: The Golden Marriage" is scheduled for July 26; "Operation Dragon" has been completed, but the release time is to be determined.
Poly Pictures has two war films. One is the film "731" directed by Zhao Linshan, which took 10 years to create and exposed the heinous crimes committed by Japan's 731st troops in the Northeast; Poly Pictures Content Center produced Manager Kou Tianzi recommended "The Great Breakout", which is adapted from the true events of the Daqingshan Breakout and tells the story of the growth history of Su Fan and other students from the first branch of the China Anti-Japanese Military and Political University.
Representatives of Shanghai Film (Group) Co., Ltd. recommended 5 films, including "The Table", another Shanghai-style cultural film after "The Myth of Love"; the 4k restored version of the Chinese comic classic "Baolian Lantern" that revives traditional culture ; "Xiaoyaoyou", which is full of fireworks and the feelings of little people; "My Mother and I's Pain", which explores the plight of women and the relationship between modern mothers and daughters; "The Place of Living", which looks back on the hometown that cannot be returned to.
Wang Yonglu, deputy general manager of publicity at Wanda Pictures, introduced the 10-year exploration of the "Chasing Light" animation label, which has now formed three series of films: New Legend, New Myth, and New Culture.Wang Yonglu focused on promoting the domestic animation "White Snake: The Floating Life" which will be released on Chinese Valentine's Day. The film is the third part of the "White Snake" series and the final chapter of the "White Snake Story".
The problem of attracting new players to the market needs to be solved urgently
However, from the perspective of high-quality development of the Chinese film industry, there are still hidden worries amid the prosperity. Data shows that both the total number of moviegoers and the per capita frequency of moviegoers in the Chinese film market are not optimistic.
Director Huang Jianxin brought a set of worrying figures. This year’s Dragon Boat Festival box office is the worst in history in the past 10 years, with a national attendance rate of only 4%. “In less than 4 years, the average age of Chinese audiences has increased from less than 21 years old to 27.5 years old, which shows that there are fewer young audiences. "While new films are entering the market, how to further "attract new ones" is a problem faced by the industry.
"In the past, we often talked about the entire industry chain of production, publicity, distribution and release. It is a transmission of the 4×100 meter relay. The film you finished shooting is handed over to the next one, which seems to have little to do with the previous one. Later. I think this metaphor is wrong. Our relationship with the audience is more like a tug-of-war. We produce, promote, distribute, and release everyone together to fight with the audience. If it were a commercial blockbuster today, we would be pulling thousands of troops across from us. Ma, then we will definitely try our best to bring them all over, but sometimes it is a documentary or an art film, and there may be thousands or hundreds of thousands of people in front of it. What if we think this crowd is too big? If you don’t pay attention to them at all and ignore them, you may not be able to compete with them tomorrow. Chinese movies will lose this audience forever,” said Wu Feiyue, founder of Elephant Partner Pictures, “Now. This issue has become very urgent. We need to change our thinking of extensive operations, and all links in the entire industry chain should work together to carry out these differentiated and refined operations, win over the audience, serve them well, and operate them well."
"We. We are about to usher in an era of refined and personalized consumption. The industry has laid a very good market foundation for us, but we still have a lot of room for growth and optimization.” Zhi Feina, a professor at the China Academy of Art, believes that we must continue to explore. On the development path of socialist films with Chinese characteristics, only by following the right path, producing high-quality products, focusing on innovation, and strengthening the ecology can we achieve high-quality development. “We must cultivate a diversified market structure and form a better mutually integrated market ecology, such as dividing Online distribution, distribution by region, distribution by audience, distribution by language, and distribution by type. At the same time, we must adjust policies, strengthen the ecology, respect laws, guide fair competition and full competition in the industry, and promote healthy interaction.”
(Editor: Wu Qing) Reviewer: Li Zhenghao Proofreader: Liu Jun)
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