When "Speed ​​and Passion 7" created a box office miracle in the Chinese movie market, Chinese-made films continued to make a silent journey in the North American market. As of this morning, there were 7 domestic films that entered the North American market in 2015. Xu Jinglei's "There is only one place we know" box office at $482,000, becoming the box office champion for domestic movies in the North American movie market. This achievement is nearly one hundred times worse than the 280 million yuan the film won in China. This is already the best result of this year's domestic North American journey.
Christopher Rosen, a well-known Hollywood film critic, frankly admitted that the Chinese film in the North American film market is gradually becoming far from the mainstream aesthetic, and the weak minority became synonymous with the connection of the “Legal Evening News†reporter.
Box office data
7 domestic films landed in North America
In the same period of 2014, there were 10 domestic films landed in North America. As of 2015, only 7 domestic films were online in North America.
As far as box office performance is concerned, there is not a small gap between them and their performance in the domestic market. The smallest drop is the "Best We Know" in North America, which is the best performer in North America. The ratio of North American box office to domestic box office is 1:94. The reporter learned from the local theater that almost all the seven domestic movies released were synchronized with the domestic cinema or were released in quasi-simultaneous fashion. There was not much time difference with the domestic release time. The type of release is mainly concentrated in love, comedy, and domestic popular movies.
However, what is slightly embarrassing is that out of the 7 Chinese films released, only "There is only one place we know" has achieved the frequency of 46 theater screenings, "We are married"39. This is totally different from the current situation in which "Speed ​​and Passion 7" North American more than 4000 cinemas are released simultaneously.
The reporter’s investigation found that screening halls were concentrated in theaters in Chinese, such as Los Angeles, San Francisco, and New York. Judging from the $6,629 single-room ticket at the "There is only one place we know," Chinese-language films are currently lacking in competitiveness in the North American market.
According to theater directors in Los Angeles, San Francisco and other regions, audiences of these domestic films are basically confined to the local Chinese. Wu Yifan, Lu Yi, the Chinese entertainment young generation idols and movie stars like Chen Kun, Li Bingbing, and Xu Ke are familiar to the audience. The works are more likely to be released. The only exception is “The Brothers Runâ€, and many North American theater managers see the introduction of the film as the succession work of the “Master of Breakup†last year. In 2014, Breaking Masters won a US$777,000 North American box office. Ranked first in Mandarin Chinese.
Box office analysis
North American overall landslide Chinese film reputation is weak
For North Americans, the record of Chinese-language films is poor. Many North American media including Deadline and Indiewire stated that the overall downturn in the North American film market this year has affected the box office situation of overseas films to a large extent. ."
However, on the one hand, the overall reduction of North American ticket warehouses, on the other hand, the weak reputation of domestic movies in the North American market made it difficult for Chinese films to affect the North American theater.
The reporter found that none of the seven domestically produced films that landed on the North American market this year received more than 80% of the media's favorable rate on the rotten tomato website, and the degree of media attention could not be compared with the same-period films. The "Boston Post" stated that Chinese-speaking films are currently becoming a special product to satisfy Chinese consumers. "Before Hollywood will have different expectations for films like "Crouching Tiger, Hidden Dragon," "Hero", and now Chinese films will only face Chinese audiences. I don't see other audiences interested in these films."
As of the current North American movie market foreign film box office rankings, the "Crouching Tiger, Hidden Dragon" directed by Li An is still in the championship position with a total of 128 million US dollars in North American box office, and another "Hero", "Fearless" two The film scored the top ten. In addition, 12 Chinese films appear in the top 100 cumulative rankings, but the most recent one is Wong Kar Wai's “Grand Master of the Year†2013.
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As the data shows, Chinese films are declining in North America. Many media including the "Star of Toronto" believe that in the case of Li An and Zhang Yimou successively away, and Jet Li, Stephen Chow and others have not filmed for a long time, the Chinese film has become a niche product in the North American film market.
Christopher Rowsen, a famous Hollywood film critic, said in an interview with a reporter from the Legal Evening News this morning that in today’s North American movie market, Chinese-language films are increasingly unable to find their own positioning, and they are increasingly in the award season and film awards. As time goes by, Chinese-language films are also becoming more and more distant from mainstream aesthetics in North America.
"Legal Evening News" (hereinafter referred to as "Law Night"): What is the overall situation of Chinese films in the North American market today?
Christopher Rosen: If you say the previous "Crouching Tiger, Hidden Dragon" period, the Chinese film is still considered the first camp in the foreign language film, then it has completely withdrawn from the first camp. Not only is it lagging behind France, Italy, and Germany, but it is hard to win compared to India, Japan, or even Korean movies. In the past, Chinese-language films often relied on movement and kungfu to support the world, and now this piece is gone.
French night: Is this caused by the overall transformation of Chinese movies?
Christopher Rosen: It is not just a matter of transformation, but more of a quality problem.
Nowadays, there are more types of Chinese-language films on the market than ever before, but all of them feel like the parody of Hollywood works. In the case of similar types and high similarity of stories, these films are actually very difficult to make movies. Require high interest in North American audiences.
Moreover, after the release of Jet Li’s old stars, Hollywood’s demand for kung fu movies has also been greatly reduced. First, Hollywood has not so much love for pure-play combat, and Hollywood movies are equipped with Chinese martial arts guidance, and there are many action designs. The elements of orientalization, these elements are integrated together, and the Chinese-style micro is also normal.
French Night: In the past few years, the only Chinese-language film that has had a box office result is “a generation of mastersâ€.
Christopher Rosen: After all, The Great Master has two selling points: action and awards. In the era of declining action, awards have become the only selection criteria for North American viewers to watch foreign language films.
Winning prizes at the three major festivals has become a hot topic in the Oscar foreign film competition, and it has become almost the only way for foreign language films to sell.
This is why films such as Poland's "Sister Ada", Russia's "Leviathan" and Argentina's "Raw Story" can achieve certain results in North America.
Originally, the space for the foreign film in the North American film market was small. At this time, the award became a quality assurance label.
But in this piece, Chinese-language films are farther and farther away from the awards, which also determines that Chinese-language films are not sold well in the North American market.
French Night: What are the most popular foreign language films in the North American market?
Christopher Rosen: The determination of mainstream foreign language films in the North American market is made up of Oscar-nominated finalists and Oscar-nominated best foreign language film nominees.
The foreign language film is in an absolutely niche role in the North American market, and viewers will only pick the ones they know and report in the foreign films released in North America.
The North American box office of “The Nv Ada†and “The Barbarian Story†broke millions of dollars. The biggest commonality between them is the Oscar nomination.
French Night: Is there a special case other than the Oscar-based foreign language film in the North American market?
Christopher Rosen: Yes, Spanish movies are very popular. The use of Spanish in the United States is also very high. Many people have better Spanish than English. However, it is only relatively speaking that the Spanish film is much larger than the Chinese film market due to the crowd density and the number of viewers.
2015 domestic movie North American box office rankings
North American box office (USD) Domestic box office (RMB) North American box office and domestic box office
"There is only one place we know" 482,000 280 million 1:94
"Let's get married" 418,300,281 million 1:108.72
The Brothers of Running 311,900 4.33 billion 1:225.39
"Returning to Twenty-year-old" 234,500 366 million 1:251.21
"Wisdom Takes Tiger Mountain" 229.89 million 883 million 1:624.29
"Lonely" 18.57 million 2.15 billion 1:187.37
"Zhong Kuai Demon" 156,600 405 million 1:418.54
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