After a rocky 2021 in China, Hollywood kicked off 2022 with its first revenue-share studio release of the year in Disney’s lush animated movie “Encanto.” The musical family film conjured up $3.22 million in the Middle Kingdom, according to data from the Maoyan platform.
The Colombia-set musical about the boisterous Madrigal family and their magical gifts placed sixth at the box office, behind a slew of holdover local titles.
“Encanto” grossed $43.3 million in theaters over its five-day Thanksgiving weekend stateside back in November before releasing on Disney Plus near the Christmas holiday. It has grossed $92.4 million in the U.S. and $216 million globally since, with the biggest overseas market being France. The Disney Plus platform does not operate in China.
Maoyan currently estimates “Encanto” will gross $6.68 million over the course of its full mainland run, which may feel like a drop in the bucket for the well-received yet expensive film that has...
The Colombia-set musical about the boisterous Madrigal family and their magical gifts placed sixth at the box office, behind a slew of holdover local titles.
“Encanto” grossed $43.3 million in theaters over its five-day Thanksgiving weekend stateside back in November before releasing on Disney Plus near the Christmas holiday. It has grossed $92.4 million in the U.S. and $216 million globally since, with the biggest overseas market being France. The Disney Plus platform does not operate in China.
Maoyan currently estimates “Encanto” will gross $6.68 million over the course of its full mainland run, which may feel like a drop in the bucket for the well-received yet expensive film that has...
- 1/9/2022
- by Rebecca Davis
- Variety Film + TV
Political problems that turned violent in the last few months weighed on the theatrical box office in Hong Kong, especially in the second half of the year. But the territory’s full year outcome was a 2% dip, rather than a precipitous plunge.
Gross revenues for 2019 totaled Hk$1.923 billion ($245 million), compared with Hk$1.957 billion ($251 million) in 2018, according to data published Thursday by Hong Kong Box Office Ltd. That was achieved with the release of 326 films (of which 46 were considered as local) compared with 353 titles in 2018, of which 53 qualified as Hong Kong productions or co-productions.
Between January and June theatrical revenues had been trending upwards at over 6%, according to previous figured from Hkbo. That points to a decrease of 10% in the second half, compared to the July to December takings of 2018.
The political protests, that began in June with a popular movement against a proposed law that would have eroded differences between...
Gross revenues for 2019 totaled Hk$1.923 billion ($245 million), compared with Hk$1.957 billion ($251 million) in 2018, according to data published Thursday by Hong Kong Box Office Ltd. That was achieved with the release of 326 films (of which 46 were considered as local) compared with 353 titles in 2018, of which 53 qualified as Hong Kong productions or co-productions.
Between January and June theatrical revenues had been trending upwards at over 6%, according to previous figured from Hkbo. That points to a decrease of 10% in the second half, compared to the July to December takings of 2018.
The political protests, that began in June with a popular movement against a proposed law that would have eroded differences between...
- 1/2/2020
- by Patrick Frater
- Variety Film + TV
After a busy FilMart in March, at which Hong Kong’s film industry leaders promised to lobby for greater access to mainland audiences, Hong Kong Chief Executive Carrie Lam was able, only a month later, to announce that the lobbying had succeeded. But the past months of political protests in Hong Kong have increasingly impacted the film business.
Back in April, fees and conditions attached to mainland-Hong Kong co-productions were waived, as part of a five-point plan to treat the Special Administrative Area’s once mighty film industry as welcome in the mainland, where the local industry has grown big and arrogant, but not yet mature.
Dropping the rules that required all mainland-Hong Kong co-productions to have mainland stories, and other regulations that put ceilings on the number of Hong Kong crew on each production, seemed set to help Hong Kong filmmakers tell their own stories and yet still to...
Back in April, fees and conditions attached to mainland-Hong Kong co-productions were waived, as part of a five-point plan to treat the Special Administrative Area’s once mighty film industry as welcome in the mainland, where the local industry has grown big and arrogant, but not yet mature.
Dropping the rules that required all mainland-Hong Kong co-productions to have mainland stories, and other regulations that put ceilings on the number of Hong Kong crew on each production, seemed set to help Hong Kong filmmakers tell their own stories and yet still to...
- 9/12/2019
- by Patrick Frater
- Variety Film + TV
Chinese production and talent company Er Dong Pictures shed some light on its latest film investment slate and growing web of relationships in Asia and Hollywood.
The company, which is in the process of establishing a joint venture with Hollywood talent firm The Gersh Agency, and has a 12-film co-funding deal with Starlight Culture Entertainment, announced its involvement in new projects with Roland Emmerich, Jon M. Chu and Sylvester Stallone.
Projects include “Those About to Die,” a film project with Harald Kloser set as producer. Emmerich and Gianni Nunnari (“The Departed”) are also involved, though their roles were not specified.
“Sylvester Stallone will be cooperating with Er Dong Pictures and Starlight on three projects,” Er Dong said. The company appears to be boarding projects being hatched by Stallone’s Balboa Pictures, including the previously announced English-language remake of recent Korean action film “The Gangster, The Cop, The Devil,” which had...
The company, which is in the process of establishing a joint venture with Hollywood talent firm The Gersh Agency, and has a 12-film co-funding deal with Starlight Culture Entertainment, announced its involvement in new projects with Roland Emmerich, Jon M. Chu and Sylvester Stallone.
Projects include “Those About to Die,” a film project with Harald Kloser set as producer. Emmerich and Gianni Nunnari (“The Departed”) are also involved, though their roles were not specified.
“Sylvester Stallone will be cooperating with Er Dong Pictures and Starlight on three projects,” Er Dong said. The company appears to be boarding projects being hatched by Stallone’s Balboa Pictures, including the previously announced English-language remake of recent Korean action film “The Gangster, The Cop, The Devil,” which had...
- 6/18/2019
- by Patrick Frater
- Variety Film + TV
The astonishing five-day haul of $331 million (RMB2.22 billion) for “Avengers: Endgame” in China has set a record for the country’s highest-grossing opening weekend of any film, Western or local, and puts the Marvel finale on track to eclipse in about one week what its predecessor, “Infinity War,” made during its entire monthlong run in the Middle Kingdom.
Since its debut last Wednesday, Disney’s “Endgame” has blasted away all competitors to rule the box office with a nearly 90% market share, hogging nearly 75% of all screenings in the entire country. It made $176 million of that five-day tally from Friday through Sunday, according to data from the Artisan Gateway consultancy. The No. 2 film over the weekend, holdover thriller “P Storm,” made $1.4 million – or less than half a percent of “Endgame’s” total.
“Endgame” has set a slew of Chinese records, surpassing previous top performances in pre-sale tickets (more than $110 million) and...
Since its debut last Wednesday, Disney’s “Endgame” has blasted away all competitors to rule the box office with a nearly 90% market share, hogging nearly 75% of all screenings in the entire country. It made $176 million of that five-day tally from Friday through Sunday, according to data from the Artisan Gateway consultancy. The No. 2 film over the weekend, holdover thriller “P Storm,” made $1.4 million – or less than half a percent of “Endgame’s” total.
“Endgame” has set a slew of Chinese records, surpassing previous top performances in pre-sale tickets (more than $110 million) and...
- 4/29/2019
- by Rebecca Davis
- Variety Film + TV
Even on one of the quietest weekends of the year, new U.S. animated release “Wonder Park” failed to inspire Chinese audiences as much as Hong Kong and Indian movies already in their third weekend in theaters.
Starring the voice talents of Matthew Broderick, Jennifer Garner, Mila Kunis, and Ken Jeong, among many others, the film tells the story of a young girl who has adventures when the amusement park she thought only existed in her imagination comes to life. It is the directorial debut of Dylan Brown, an animator who had worked on films like “Monsters Inc.,” but who was fired by Paramount in January 2018 due to allegations of inappropriate conduct with women and is thus uncredited.
“Wonder Park” came in third with just a $3.3 million debut weekend, according to figures from consultancy Artisan Gateway. The film opened March 15 in the U.S.
With movie choices made up of holdovers and weak new releases,...
Starring the voice talents of Matthew Broderick, Jennifer Garner, Mila Kunis, and Ken Jeong, among many others, the film tells the story of a young girl who has adventures when the amusement park she thought only existed in her imagination comes to life. It is the directorial debut of Dylan Brown, an animator who had worked on films like “Monsters Inc.,” but who was fired by Paramount in January 2018 due to allegations of inappropriate conduct with women and is thus uncredited.
“Wonder Park” came in third with just a $3.3 million debut weekend, according to figures from consultancy Artisan Gateway. The film opened March 15 in the U.S.
With movie choices made up of holdovers and weak new releases,...
- 4/22/2019
- by Rebecca Davis
- Variety Film + TV
Warner Bros. and New Line’s “The Curse of La Llorona” led the way at the international box office, summoning $30 million when it opened in 71 foreign markets.
The supernatural thriller collected $26.5 million in North America for a global start of $56.5 million. “La Llorona,” based on the Mexican folklore about the Weeping Woman, had the best showing in Mexico where it debuted with $5.3 million. Other top territories include Colombia ($2.4 million), France ($2.1 million), and Spain ($1.7 million).
In another win for Warner Bros. and New Line, “Shazam!” crossed the $200 million overseas. The DC superhero tentpole added another $22 million from 80 territories this weekend, bringing its global haul to $322.8 million. “Shazam!” opened in Japan with $2 million.
Disney’s live-action remake of “Dumbo” also hit a significant milestone, surpassing $300 million in ticket sales. Director Tim Burton’s re-imagining of the classic cartoon brought in $13.7 million from 55 markets for an international bounty of $206.6 million.
Elsewhere, Paramount Pictures...
The supernatural thriller collected $26.5 million in North America for a global start of $56.5 million. “La Llorona,” based on the Mexican folklore about the Weeping Woman, had the best showing in Mexico where it debuted with $5.3 million. Other top territories include Colombia ($2.4 million), France ($2.1 million), and Spain ($1.7 million).
In another win for Warner Bros. and New Line, “Shazam!” crossed the $200 million overseas. The DC superhero tentpole added another $22 million from 80 territories this weekend, bringing its global haul to $322.8 million. “Shazam!” opened in Japan with $2 million.
Disney’s live-action remake of “Dumbo” also hit a significant milestone, surpassing $300 million in ticket sales. Director Tim Burton’s re-imagining of the classic cartoon brought in $13.7 million from 55 markets for an international bounty of $206.6 million.
Elsewhere, Paramount Pictures...
- 4/21/2019
- by Rebecca Rubin
- Variety Film + TV
Among other measures, restrictions have been removed on the numbers of Hong Kong cast and crew on each production.
Chinese authorities have unveiled new rules to make it easier for Hong Kong companies to access the mainland market via official Hong Kong-China co-productions.
The mainland government has relaxed five of the restrictions currently in place for Hong Kong-China co-productions – including the number of Hong Kong actors in each production; the number of Hong Kong people working on each production; and the requirement that the story of the film is related to mainland China.
Other measures include waiving fees to set...
Chinese authorities have unveiled new rules to make it easier for Hong Kong companies to access the mainland market via official Hong Kong-China co-productions.
The mainland government has relaxed five of the restrictions currently in place for Hong Kong-China co-productions – including the number of Hong Kong actors in each production; the number of Hong Kong people working on each production; and the requirement that the story of the film is related to mainland China.
Other measures include waiving fees to set...
- 4/17/2019
- by Liz Shackleton
- ScreenDaily
The Hong Kong film industry will be given greater access to the $9 billion mainland Chinese movie market following a relaxation of rules that had kept Hong Kong films and film makers on a separate footing.
The territory which returned to China in 1997 after 150 years of British colonial rule, saw its film industry flourish in the 1970s-1990s when China largely closed itself off from the world. Since 2003, the Hong Kong film industry has had privileged access to China as part of the wider Closer Economic Partnership Agreement. But there were still restrictions and requirements — such as one that said mainland Chinese performers must account for at least a third of the cast in co-productions.
The Hong Kong government announced on Tuesday that mainland authorities had agreed to five changes.
They include: the removal of a restriction on the number of Hong Kong people participating in mainland film productions; and the...
The territory which returned to China in 1997 after 150 years of British colonial rule, saw its film industry flourish in the 1970s-1990s when China largely closed itself off from the world. Since 2003, the Hong Kong film industry has had privileged access to China as part of the wider Closer Economic Partnership Agreement. But there were still restrictions and requirements — such as one that said mainland Chinese performers must account for at least a third of the cast in co-productions.
The Hong Kong government announced on Tuesday that mainland authorities had agreed to five changes.
They include: the removal of a restriction on the number of Hong Kong people participating in mainland film productions; and the...
- 4/16/2019
- by Patrick Frater
- Variety Film + TV
Hong Kong crime thriller P Storm continued to make it rain at China's box office over the weekend, while DC's family-friendly superhero flick Shazam! sputtered.
P Storm, the wince-inducing title exerting little deterrence, earned $18.5 million in its second frame, taking its total to a healthy $89.4 million, according to data from Artisan Gateway.
The fourth film in David Lam's ongoing franchise, P Storm already has topped the total of its most recent predecessor, L Storm ($64 million in 2018), ensuring that more Storm projects are gathering over the horizon. In fact, G Storm, film number five, is already ...
P Storm, the wince-inducing title exerting little deterrence, earned $18.5 million in its second frame, taking its total to a healthy $89.4 million, according to data from Artisan Gateway.
The fourth film in David Lam's ongoing franchise, P Storm already has topped the total of its most recent predecessor, L Storm ($64 million in 2018), ensuring that more Storm projects are gathering over the horizon. In fact, G Storm, film number five, is already ...
- 4/15/2019
- The Hollywood Reporter - Film + TV
Hong Kong crime thriller P Storm continued to make it rain at China's box office over the weekend, while DC's family-friendly superhero flick Shazam! sputtered.
P Storm, the wince-inducing title exerting little deterrence, earned $18.5 million in its second frame, taking its total to a healthy $89.4 million, according to data from Artisan Gateway.
The fourth film in David Lam's ongoing franchise, P Storm already has topped the total of its most recent predecessor, L Storm ($64 million in 2018), ensuring that more Storm projects are gathering over the horizon. In fact, G Storm, film number five, is already ...
P Storm, the wince-inducing title exerting little deterrence, earned $18.5 million in its second frame, taking its total to a healthy $89.4 million, according to data from Artisan Gateway.
The fourth film in David Lam's ongoing franchise, P Storm already has topped the total of its most recent predecessor, L Storm ($64 million in 2018), ensuring that more Storm projects are gathering over the horizon. In fact, G Storm, film number five, is already ...
- 4/15/2019
- The Hollywood Reporter - Movie News
It beat ‘Shazam!’ into second place.
Hong Kong crime thriller P Storm fought off DC’s latest superhero film Shazam! for the top spot over the long weekend created by the Qingming (tomb-sweeping) holiday on April 5.
As it is not always a tradition to have a Friday opening in China, several new titles received a staggered release to take advantage of the Qingming holiday, with India’s Andhadhun opening on April 3, P Storm and Lou Ye’s The Shadow Play on April 4 and Shazam! on April 5.
Thanks largely to the Qingming weekend, the first week of April (April 1-7) enjoyed...
Hong Kong crime thriller P Storm fought off DC’s latest superhero film Shazam! for the top spot over the long weekend created by the Qingming (tomb-sweeping) holiday on April 5.
As it is not always a tradition to have a Friday opening in China, several new titles received a staggered release to take advantage of the Qingming holiday, with India’s Andhadhun opening on April 3, P Storm and Lou Ye’s The Shadow Play on April 4 and Shazam! on April 5.
Thanks largely to the Qingming weekend, the first week of April (April 1-7) enjoyed...
- 4/8/2019
- by Silvia Wong
- ScreenDaily
New Line and DC's kid-friendly superhero movie Shazam! got off to a respectable start in China over the weekend, opening to $30.9 million.
The debut was just a notch below Wonder Woman's $38 million opening in 2017 and also within the range of several of Marvel's character-introducing superhero titles in China, such as Guardians of the Galaxy ($30 million) and Ant-Man ($42 million). But it wasn't enough to beat the local competition.
Hong Kong crime thriller P Storm — its spectacularly unfortunate title notwithstanding — decisively won the frame with $39.8 million from Friday to Sunday, according to data ...
The debut was just a notch below Wonder Woman's $38 million opening in 2017 and also within the range of several of Marvel's character-introducing superhero titles in China, such as Guardians of the Galaxy ($30 million) and Ant-Man ($42 million). But it wasn't enough to beat the local competition.
Hong Kong crime thriller P Storm — its spectacularly unfortunate title notwithstanding — decisively won the frame with $39.8 million from Friday to Sunday, according to data ...
New Line and DC's kid-friendly superhero movie Shazam! got off to a respectable start in China over the weekend, opening to $30.9 million.
The debut was just a notch below Wonder Woman's $38 million opening in 2017 and also within the range of several of Marvel's character-introducing superhero titles in China, such as Guardians of the Galaxy ($30 million) and Ant-Man ($42 million). But it wasn't enough to beat the local competition.
Hong Kong crime thriller P Storm — its spectacularly unfortunate title notwithstanding — decisively won the frame with $39.8 million from Friday to Sunday, according to data ...
The debut was just a notch below Wonder Woman's $38 million opening in 2017 and also within the range of several of Marvel's character-introducing superhero titles in China, such as Guardians of the Galaxy ($30 million) and Ant-Man ($42 million). But it wasn't enough to beat the local competition.
Hong Kong crime thriller P Storm — its spectacularly unfortunate title notwithstanding — decisively won the frame with $39.8 million from Friday to Sunday, according to data ...
“P Storm,” the fourth installment of a Hong Kong crime thriller franchise, beat Warner Bros.’ new DC Comics superhero flick “Shazam!” by nearly $10 million over their three-day opening weekend in China, indicating a continued preference of Chinese audiences for local films over U.S. fare.
According to data from consultancy Artisan Gateway, “P Storm” took in $39.8 million over the weekend, which included Friday’s Tomb Sweeping Day, a national holiday in China during which families traditionally head home to pay graveside respects to their ancestors. The somewhat unfortunately named film stars Louis Koo as corruption investigator William Luk, who goes undercover at a prison. “P Storm” took pole position at the box office despite a South China Morning Post review that called it an “utterly silly” storyline “laughably detached from reality.”
Directed by David Lam and produced by Raymond Wong’s Hong Kong-based Pegasus Motion Pictures, the film is the...
According to data from consultancy Artisan Gateway, “P Storm” took in $39.8 million over the weekend, which included Friday’s Tomb Sweeping Day, a national holiday in China during which families traditionally head home to pay graveside respects to their ancestors. The somewhat unfortunately named film stars Louis Koo as corruption investigator William Luk, who goes undercover at a prison. “P Storm” took pole position at the box office despite a South China Morning Post review that called it an “utterly silly” storyline “laughably detached from reality.”
Directed by David Lam and produced by Raymond Wong’s Hong Kong-based Pegasus Motion Pictures, the film is the...
- 4/8/2019
- by Rebecca Davis
- Variety Film + TV
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