Cover The rise and struggle of Chinese cinema
The rise and struggle of Chinese cinema
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Chinese cinema is reinventing itself with bold storytelling and international acclaim, even as domestic television dramas falter under repetition and restrictions.
Once the pride of Asia, Chinese TV dramas are now struggling to find their footing. New projects are frequently criticised for lacking originality in their scripts, over-relying on special effects, and falling into familiar patterns. As a result, audiences are gradually losing interest, sometimes turning away from domestic productions in favour of higher-quality works from Korea, Thailand or Japan.
By contrast, Chinese cinema is showing signs of transformation every day, with standout works warmly embraced by audiences. Filmmakers are increasingly willing to explore new themes, invest in cinematic techniques, and elevate acting standards. These film projects are not only making waves at home but are also achieving success on the international stage, reinforcing China’s presence on the global cinematic map. Could this signal the dawn of a new era, where cinema leads the charge and television is compelled to evolve in order to survive?
Cinema flourishes
The early years of the 21st century witnessed a surge in Chinese cinema, with remarkable works appearing on both small and big screens. TV series such as My Fair Princess (1998), Lovers Under the Rain (2001), War and Beauty (2004) and Scarlet Heart (2011) sparked excitement not only in China but across the region. On the big screen, films such as Crouching Tiger, Hidden Dragon (2000), Hero (2002) and House of Flying Daggers (2004) captivated audiences with striking action sequences, stunning visual effects, and stories rich in Asian culture. These successful projects garnered impressive box office returns and prestigious awards, elevating Chinese cinema on the international stage.
Statistics show that between 1949 and 1960, the number of venues capable of hosting film screenings in China rose from around 400 to over 20,300. The China Film Distribution and Publication Administration, established in 1951, licensed and distributed 1,213 feature and short films. In just 17 years, the nation’s film industry produced more than 603 feature films and over 8,342 reels of documentaries and newsreels.
More than two decades have passed, yet My Fair Princess (1998) continues to hold a special place in the hearts of many generations (photo:)
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These impressive figures are considered the result of a long-term, systematic investment and development process in the Chinese film industry. China’s large population creates a vast consumer market, while also providing fertile ground for filmmakers to explore. In addition, the government has invested heavily in the film sector, supporting producers with facilities, technology, and favourable policies. Finally, Chinese filmmakers continually innovate, delivering quality productions across a range of genres to meet the rising expectations of audiences.
Despite a solid foundation since the early 21st century, Chinese cinema has repeatedly transformed to keep pace with changing tastes and global trends. In 2010, the industry saw the surge of large-scale commercial films, with significant investments in both special effects and storytelling. A notable trend has been the rise of high-quality animated films, such as Nezha: The Infernal (2025). This animated release not only struck a chord in China but also caused a global sensation, becoming the highest-grossing non-American animated film ever, earning 12 billion yuan (approximately US$1.6 billion). Remarkably, Nezha 2 surpassed Inside Out 2 (2024) to enter the top 40 of the worldwide box office rankings.
Above Nezha 2 took the box office by storm with a revenue of 2 billion USD (photo: gamelada)
Nezha 2 took the box office by storm with a revenue of 2 billion USD (photo: gamelada)
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Beyond blockbusters, Chinese cinema also makes its mark with art films imbued with personal vision, earning critical acclaim. Directors such as Tran Gia Tan, Quan Ho, Lou Diep, and Zhang Yimou have presented works exploring social realities, reflecting the times and the lives of China’s billion-strong population. Among them, Black Dog (2024), directed by Quan Ho, stands out. The film caused a sensation at the 2024 Cannes Film Festival, winning the “Unique Perspective” award (Un Certain Regard). It follows Lang (played by Peng Yuyan), a former prisoner returning to his hometown, who befriends a stray dog, offering a poignant reflection on those left behind amid China’s rapid economic development.
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According to Xavier Dolan, president of the Cannes jury, Black Dog is a film rich in poetry and imagination. The Washington Post observed that through the film, Guan Hu seeks to portray the fates of individuals caught in China’s swift economic transformation.
It is clear that Chinese cinema is broadening its scope and depth beyond commercial blockbusters. Independent works like Black Dog reveal directors’ capacity to tell subtle, emotionally resonant stories while reflecting nuanced social changes. This demonstrates that, alongside commercial appeal, Chinese cinema also produces works of artistic and ideological value, helping elevate the national film industry on the global stage.
But television is on the decline…
In contrast to cinema’s ascent, Chinese TV series have been losing ground. Several factors explain this decline. Many series recycle old formulas, particularly in historical and urban romance genres. Scripts are often shallow and predictable, with illogical and stereotypical elements that leave audiences feeling disengaged.
Next, in 2021, the Chinese entertainment industry underwent an unprecedented “purge,” with many high-profile stars being banned due to personal scandals and legal violations. Names such as Zheng Shuang, Wu Yifan, and Zhao Wei were all effectively erased from the industry, sparking widespread public debate. At the same time, authorities imposed a ban on the production and broadcasting of BL dramas, aiming to correct “distorted aesthetics” and remove depictions of “effeminate” male artists from television. This led to numerous BL drama projects being cancelled or postponed indefinitely, significantly impacting the Chinese TV drama market.
Above Possessing an A-list cast, but Feud struggled to turn the tide
Possessing an A-list cast, but Feud struggled to turn the tide
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In addition, the domestic film and television market is intensely competitive, while international interest is waning. Within China, the number of TV series being produced continues to rise, heightening rivalry among producers. Projects must compete to capture audience attention, whether through casting well-known actors, investing in special effects, or mounting large-scale promotional campaigns. Yet not all succeed. Feud (2025), featuring Bai Lu and Zeng Shunxi, is a case in point. Despite a budget exceeding VND1,000 billion and an A-list cast, the project received mixed reviews. Critics found the script uninspired and the special effects substandard, leaving the series short of audience expectations. This demonstrates that substantial resources cannot compensate for weaknesses in content and production quality.
Meanwhile, international interest in Chinese TV dramas has been declining. Series such as Eternal Love (2017), Ruyi’s Royal Love in the Palace (2017) and Story of Yanxi Palace (2018) once created major buzz and were warmly received abroad. Today, however, Chinese TV dramas struggle to capture the same attention.
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This decline may be attributed to market saturation and the influx of new content from other countries. Industries in Korea and Japan not only invest heavily in TV production, delivering high-quality series across diverse genres, but also prioritise tightly written, compelling scripts that explore various aspects of life and character. In comparison, Chinese TV dramas find it difficult to maintain international appeal and risk fading before fully blooming.
It is notable that many recent Chinese TV projects focus on retaining loyal viewers rather than exploring new creative directions. Some producers continue to rely on “safe” formulas, such as familiar actors, conventional love stories, or family themes, rather than venturing into bold, original narratives. In some cases, producers attempt to boost ratings with recycled tricks rather than investing in quality content and innovative storytelling. While these strategies may deliver high initial viewership, the lack of novelty and diminishing distinctiveness gradually leave audiences feeling disconnected from television offerings.
Above Zhang Linghe and Zhao Jinmai in Our Generation (photo: Youku)
Zhang Linghe and Zhao Jinmai in Our Generation (photo: Youku)
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The movie Our Generation is a typical example. Released in July 2025, the film featured well-known actors such as Truong Lang Hac and Trieu Kim Mach, yet it failed to meet expectations. On the Douban platform, it initially scored 6.0 from over 24,000 reviews, before dropping to 5.8 with more than 29,000 reviews. Its underperformance has been attributed to a shallow script and unconvincing performances. Many viewers felt the film lacked genuine emotion and failed to establish a connection with its audience. The notable age gap between the actors and their student characters also drew criticism for seeming implausible.
It is not only romance or fantasy films that are seeking innovation to capture viewers’ attention. Humanities-themed projects, which focus on everyday life, relationships, and psychological depth, demand audience engagement and empathy. These films are inherently more selective than easily digestible entertainment or action-packed dramas. Even with strong content, humanities films must carefully balance intellectual depth and visual appeal to retain audiences in a competitive market.
What is the way for Chinese cinema?
For Chinese cinema to reclaim its former glory, quality must take precedence over quantity. The mass production of films with superficial content and “inexperienced” scripts has created a sense of wastage, eroding audience trust and diminishing interest in new releases. Producers must commit to each project, especially the script, to deliver works of genuine value that meet audience expectations. At the same time, the script review process should remain rigorous yet objective, ensuring content aligns with social and cultural norms while fostering creativity and providing screenwriters the freedom to explore new ideas.
Moreover, to retain audiences, Chinese films must diversify genres rather than relying solely on popular themes such as romance, fantasy, and palace dramas. Filmmakers should boldly explore new areas such as social psychology, detective stories, and science fiction. Broadening the range of genres not only offers audiences more choice but also allows creators to express originality, producing distinctive works with strong personal signatures.
The Tale of Rose, starring Liu Yifei, was one of the standout hits of 2024
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Collaborating with countries with well-established film industries, such as the US, Belgium, and France, is another important avenue. Such exchanges can enhance production quality, expand market reach, and increase the diversity of film content. Equally important is attention to actors’ performances. Casting should prioritise talent as much as appearance, giving actors opportunities to refine their skills and elevate their craft.
Production alone is not enough; marketing and distribution strategies are equally crucial. Producers should develop systematic promotional campaigns, leverage digital platforms and social media to engage younger audiences, and cultivate loyal fan communities. The combination of strong content, polished production, and effective communication strategies will help Chinese film and television regain audience trust, strengthen their international standing, and usher in a new era for the industry.
