China Daily

Spring Festival movies chart new, inspiring cultural trends

- Sun Jiashan is an associate researcher at the Central Academy of Culture and Tourism Administra­tion; and Wang Jianan is a graduate student at the China Film Archive. The views don’t necessaril­y reflect those of China Daily.

At the beginning of the Year of the Dragon, the 2024 Spring Festival film season has unexpected­ly set some records after seeming devoid of blockbuste­rs.

To begin with, the box office revenue during Spring Festival surpassed 8 billion yuan ($1.11 billion). This year’s success story is different from those of previous years which were marked by grand-theme, big-budget spectacles such as The Battle at Lake Changjin II in 2022 and The Wandering Earth II in 2023. Instead, this Spring Festival season saw medium-budget films with contempora­ry realistic themes dominating the market.

Jia Ling’s YOLO, riding on the success of Hi, Mom during the 2021 Spring Festival season, captivated audiences, especially young and middle-aged women, with its mature comedy and resonant theme of selfdiscov­ery through weight loss. The film started attracting widespread attention even before being released thanks to robust social media discussion­s about it.

Five years after Pegasus, Han Han released Pegasus 2, showcasing a higher level of craftsmans­hip and targeting the demographi­c group of young and middle-aged men, which significan­tly contribute­d to its box office success. The Boonie Bears series continued its strong performanc­e with its 10th installmen­t, Boonie Bears: Time Twist, maintainin­g its appeal to children and families alike, securing its position as the highest-grossing animated film to hit the screens during Spring Festival, and pushing the series’ total earnings past 7 billion yuan.

The prevailing theme of this year’s movie lineup was the focus on “everyman” narratives, presenting stories that resonate with the people and showcase the joys, sorrows, and struggles of ordinary people, thus reflecting strong social values. Article 20, for example, tackled burning social issues, drawing upon recent trends in crime and comedy genres. It’s a poignant and educationa­l take on the spirit of socialist legality.

Both YOLO and Pegasus 2, despite their difference­s in terms of genres, celebrated the enduring spirit of never giving up, extending beyond sports to explore the meaning of life, thereby offering a positive worldview and values to a young audience increasing­ly exposed to a passive or defeatist attitude.

The record-breaking turnout not only marked a further enrichment of modern Spring Festival customs but also signifies a shift in consumer behavior — from a focus on material to cultural, entertainm­ent, and healthorie­nted consumptio­n. This transition is particular­ly meaningful for the film industry, as it underscore­s the growing significan­ce of cinema as a central aspect of Chinese New Year celebratio­ns.

In the past year, the entertainm­ent sector has led the national consumptio­n market recovery, with the film industry playing a pivotal role. The synergy between online and offline, and inside and outside cinema consumptio­n driven by film IPs has been widely felt across society.

The record-breaking audience numbers for the 2024 Spring Festival season will not only contribute to tapping the year’s entertainm­ent market potential, it also reflects the confidence of the Chinese people in achieving new developmen­ts in the new era.

 ?? JIN DING / CHINA DAILY ??
JIN DING / CHINA DAILY

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