Latest news with #ChinaFilmAdministration
RTHK
26-05-2025
- Business
- RTHK
New rules spur HK and Macau film firms on mainland
New rules spur HK and Macau film firms on mainland The China Film Administration introduced new regulations on Monday. File photo: AFP The central government on Monday introduced new rules that allow service providers from Hong Kong and Macau to establish film production companies on the mainland, as part of efforts to deepen industry cooperation and boost film-making. The regulation, issued by the China Film Administration, permits qualified investors to set up and operate production firms under China's existing foreign investment and business registration frameworks. These companies will be allowed to produce a wide range of content; including feature films, animation, documentaries, and virtual reality productions. Newly-established firms may act as lead producers and apply for project registration. Existing Hong Kong- or Macau-invested enterprises may also apply to expand their operations to include film production, pending regulatory approval. (Xinhua)
The Star
25-05-2025
- Entertainment
- The Star
Roundup: Chinese film week in Budapest promotes cultural exchange through cinema
BUDAPEST, May 25 (Xinhua) -- The third edition of the "Imazsia Chinese film week," which opened here on Saturday evening, featured Chinese films ranging from contemporary hits to award-winning classics. In an interview with Xinhua, Victoria Varadi, the event's chief organizer, expressed gratitude for the extensive support from Chinese institutions, including the China Film Administration, the China Film Archive, the Beijing Film Academy, and the Chinese Embassy in Hungary. She also highlighted the growth of the festival, which now includes not only film screenings but also workshops, cultural showcases, and audience meetings with filmmakers. "It is a great joy to see how the Film Week has developed since its inception," Varadi said in her keynote speech at the opening ceremony at the historic Urania National Film Theatre in Budapest. "This year, our program features eight films, including three festival-award winners and five contemporary audience favorites." The opening ceremony showcased a dynamic performance by the Face Team acrobatic basketball group, known internationally for their appearances in Britain's Got Talent and Cirque du Soleil. The festival opened with the screening of "Her Story" from Shanghai, a 2024 Chinese comedy directed by Shao Yihui. Upcoming films in the program include "Blush," "Detective Chinatown 1900," and "The Wandering Earth 2." Notably, the festival also hosts a Contemporary Chinese Literature Club, with author Su Tong, known for his novel "Blush," participating in a roundtable discussion. Audiences in Budapest demonstrated enthusiasm for the event. Gabor Dicserdi, a 46-year-old construction cost manager, said he appreciated the opportunity to discover a curated selection of films he would not find on streaming platforms. "We watched a documentary today, and we will come back for the closing film next week," he added. Meanwhile, Marta Fekszi, CEO of Origo Filmstudio, underscored the importance of building long-term ties with Chinese filmmakers. "We are always grateful for the visit of Chinese delegations, and we hope to collaborate on future productions," she said. "Over the past two days, I had a profound experience at Urania: attending Su Tong's reader event and the Asian film screening exhibition. It made me realize how Chinese culture is now reaching the world with real depth and diversity, not just as entertainment," Fan Liyun, a Chinese teacher at the Confucius Institute at Miskolc University in Hungary told Xinhua.
Yahoo
16-05-2025
- Entertainment
- Yahoo
‘Mission: Impossible – The Final Reckoning' Set For China Release On May 30 As Trade Tensions Ease
Paramount Pictures' Mission: Impossible – The Final Reckoning, which premiered here in Cannes on Wednesday, has been cleared for a May 30 release in China. The film has passed censorship and been dated despite the China Film Administration's recent announcement that it would 'moderately reduce' the number of U.S. films imported into the country in response to U.S. President Donald Trump's 145% tariffs on Chinese goods. More from Deadline 'Simply Black' Filmmaker Jean-Pascal Zadi Aims To Break Down More Barriers: "Being Black And Living In France Has Marked Me Deeply" Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews 'Sirât' Review: Óliver Laxe Brings Sound And Fury To A Mythic Story Of Family And Loss - Cannes Film Festival However, the U.S. and China recently agreed to cancel some of the tariffs they'd imposed on each other after Trump's escalation, and pause others for 90 days, following talks between the two nations in Geneva. Mission: Impossible – The Final Reckoning is being released in China just one week after its North America release on May 23 through Paramount. Disney's Thunderbolts* is currently on release in China and since the announcement of the 'moderate reduction' three other US studio titles have been dated – The Accountant 2 (May 16), Lilo & Stitch (May 23) and How To Train Your Dragon (June 13). Other foreign films scheduled for release in China in coming weeks include Brazilian Best International Feature Oscar winner, I'm Still Here, which is opening today, and the re-release of Japanese filmmamker Shunji Iwai's 1995 Love Letter, which is scheduled for May 20. Best of Deadline 2025 TV Cancellations: Photo Gallery Where To Watch All The 'Mission: Impossible' Movies: Streamers With Multiple Films In The Franchise Everything We Know About 'My Life With The Walter Boys' Season 2 So Far
Express Tribune
11-05-2025
- Business
- Express Tribune
THE SILVER SCREEN AS BATTLEGROUND
In the grand theatre of global politics, where tariffs and treaties play out like complex scripts, the latest act has pulled an unlikely player into the spotlight: the silver screen. As tensions rise between the United States and China over a new 145% tariff hike imposed by President Donald Trump, Beijing has responded not just through financial recalibrations but with a cultural countermove — tightening the already narrow gate through which Hollywood films enter Chinese cinemas. For years, Hollywood relied on China not just for big box office numbers, but as a key player in achieving global success. This partnership, while always a bit rocky, helped American studios turn their domestic flops into international hits. But that might be changing. Recently, Trump proposed a 100% tariff on all foreign-made films, which sent shockwaves through the entertainment industry. The announcement made headlines and raised concerns among studio executives and investors. While the specifics of the proposal are still unclear, the impact is already being felt. China quickly responded by cutting back on the number of US films it will allow for release. They called the tariff idea misguided and warned that it could further hurt the already declining interest in Hollywood movies among Chinese audiences. This situation goes beyond just trade — it is about the future of storytelling on a global scale. The uncertainty is forcing US studios to rethink how they create, market, and distribute films overseas. With the industry already dealing with the rise of streaming, changing viewer habits, and cultural shifts, this adds even more challenges. As politics and pop culture clash, the once strong partnership between Hollywood and China is facing tough times, and the future of this relationship may not have a happy ending. On the surface, it's an economic decision. But look closer, and the reel spins out into a deeper story — one of culture, pride, soft power, and the fragile global dance of influence between two of the world's most dominant film industries. Once upon a time — not very long ago — Hollywood films poured into China like a cinematic flood: superheroes in capes, fast cars, alien invasions, and sweeping American ideals flickered across screens in Shanghai, Beijing, Chengdu, and beyond. For the US, this was not just export — it was global influence wrapped in popcorn and Dolby surround sound. For China, it was entertainment, yes, but also intrusion. Over time, Beijing began to lean more heavily into protecting its screens, restricting the number of foreign films allowed annually and scrutinising content with an ever-watchful eye. Now, with new economic tensions flaring, China's film authorities have a ready lever to pull — Hollywood. And they are pulling it, harder than before. The China Film Administration has signalled further restrictions on US film releases as a direct reaction to the tariff escalation. Studios that once banked on China to offset soft domestic openings are now left holding their scripts in suspense. The consequences are already echoing through the corridors of Los Angeles, where blockbuster budgets hang delicately on international returns—and China has long been the crown jewel of that equation. To understand the weight of this cinematic cold shoulder, one must understand the sheer size of China's film market. In 2020, China overtook North America to become the world's largest box office market — a feat once unimaginable, now deeply consequential. For Hollywood, access to China isn't just an opportunity, it is a necessity. Films like Furious 7, Avengers: Endgame, and Avatar didn't just succeed because of their American appeal, but because of their global magnetism — China included. Now, with the gates narrowing, American studios must prepare for a box office landscape without their most valuable overseas partner. But behind the boardroom panic and spreadsheets lies a subtler, richer story: the deliberate rise of China's own cinematic muscle. While American franchises have dominated for decades, China's domestic film scene has grown more ambitious, polished, and, most importantly, loved by its people. Films like The Battle at Lake Changjin and Wolf Warrior 2 have stirred nationalist pride, drawing millions to theatres not just for escapism, but for a mirror reflecting a rising nation. These films are not just entertainment — they are messaging, identity, and home-grown spectacle. China's strategy is, at its core, about more than revenge for tariffs. It's about narrative sovereignty. By pulling back the red carpet for Hollywood, Beijing is giving more space to its own storytellers to flourish. In a world increasingly fractured along ideological lines, controlling the narrative is as important as controlling the ports. There are clear advantages to this approach. By nurturing local talent and directing audience attention to domestic films, China strengthens an industry that creates jobs, inspires future creators, and exports a softer, shinier version of its national image. After all, cinema is not just art — it is diplomacy by other means. Yet this tightening comes at a cost. Hollywood films, for all their cultural baggage, offer variety, innovation, and a global standard of production. Chinese audiences, particularly younger ones, have long embraced American blockbusters not just for their scale, but for their style. From Marvel's interwoven universe to Pixar's emotionally rich animations, US films bring something difficult to replicate: decades of storytelling craft and global cultural fluency. With fewer imports, Chinese moviegoers may face a narrowing of narrative styles, a risk that their own industry — even if rapidly developing — may not yet be ready to completely fill. And there's another complication-piracy. Historically, when access is blocked, demand doesn't vanish — it just seeks darker alleys. The fewer American films released legally in China, the higher the risk of audiences turning to illegal downloads and bootleg streams, undermining both Hollywood and local theatres alike. Meanwhile, in the marble hallways of Hollywood's power studios, executives are scrambling. The Chinese market has become so embedded in their financial planning that losing access to it can mean the difference between a hit and a flop. Studios have often made extensive cuts, edits, or even alternate scenes just to ensure a smoother ride past China's censors. In some cases, entire characters have been adjusted or removed — political references softened, endings rewritten, maps redrawn — to accommodate China's red lines. Now, these efforts may not be enough. It's a bitter twist for an industry that prides itself on freedom of expression. But then again, freedom often negotiates with profit. And in this case, the door to those profits may be closing. Still, this rupture presents an unexpected opportunity — for both China and other film-producing nations. With Hollywood partially benched, there is room for new players to step in. Countries like South Korea and India, with vibrant, export-ready film industries, are already finding enthusiastic audiences within China. South Korea's Parasite was not just a critical darling — it was a symbol of non-Western cinematic excellence. Could this be the moment for Pakistan, Indonesia, or Egypt to ride the wave? Perhaps. There is a hunger in global audiences — not just Chinese — for stories told from different vantage points. As Hollywood and China grow weary of each other's games, the space between them becomes fertile ground for new voices, new aesthetics, and new ideas. And what of the American audience? For the average viewer in the US, this may feel like a distant concern. But make no mistake — the consequences will be felt. As access to the Chinese market dries up, studios will rethink budgets, possibly scale down projects, or recalibrate what kind of stories they can afford to tell. The era of ultra-high-budget blockbusters that depend on international revenue may begin to shrink, replaced by mid-tier projects with more modest expectations. That might not be such a bad thing. It could encourage riskier storytelling, more creative freedom, and a return to character-driven narratives. But it could also mean fewer theatrical releases, tighter margins for theatres, and a further shift to streaming platforms that bypass borders — and sometimes, censors —altogether. In the end, what we're witnessing is not just a trade war. It's a clash of philosophies- one industry rooted in globalised capitalism and liberal storytelling norms, the other rising with state-guided purpose and a deep desire to control the national image. Both have power, both have appeal — and both now sit on opposite ends of a tightening rope. Whether this chapter in the US-China rivalry resolves peacefully or escalates into a longer freeze remains uncertain. But for now, the lights in one theatre are dimming, while in another, a new story begins to play. And that, perhaps, is the true drama of our time — not the ones made for the screen, but the ones unfolding behind it. All facts and information are the sole responsibility of the writer Shazia Tasneem Farooqi is a freelance writer, photographer, multimedia Journalist, news and talkshow producer
Yahoo
06-05-2025
- Entertainment
- Yahoo
Opinion - Why Hollywood is afraid of Chinese bad guys
Watching Hollywood films and TV shows, you might notice something missing: Chinese bad guys. Even though China is widely acknowledged as the U.S.'s main strategic rival, we rarely see Chinese villains in our contemporary stories. Instead, we are treated to the same old nefarious Russians, Islamic terrorists, trans-national criminals and occasionally a dodgy character from a smaller country. The reason for this is straightforward: China is a market that Hollywood covets. In 2019, for example, the China Film Administration and box office analytics firms like EntGroup and Box Office Mojo estimated that Hollywood generated $11 billion in box office revenue, with big-budget films like 'Avengers: Endgame' and 'The Lion King' leading the way. Those numbers slumped during the COVID-19 pandemic, but they rebounded to $7.5 billion in 2022, the last year somewhat accurate numbers are available. The pandemic, however, is not the only reason revenue is down for Hollywood fare in China. A native film industry has developed, which the Chinese government has been careful to nurture. And the growing Chinese middle class has shown a growing preference for local stories. Hollywood's kowtowing to China has certainly not gone unnoticed. In October 2019, the second episode of the 23rd season of the cartoon series, South Park, titled 'Band in China' appeared and parodied this issue. The episode shows Chinese officials on the set of a movie censoring the production in real time as a real (and hilarious) send-up of Chinese censorship abroad. The episode got positive reviews in the U.S., but it created an uproar in China, where South Park was subsequently banned. Even though Hollywood censors itself due to Chinese pressure, China feels no pressure to avoid the portrayal of Americans as villains in its growing film industry. In films like 'The Founding of a Republic,' 'The Great National Revival' or 'Cliff Walkers,' Americans are portrayed as nefarious forces in Chinese history. In films with more contemporary storylines like 'Operation Red Sea,' where Americans are shown as terrorists, or 'Skyfire,' where Westerners are depicted as nefarious and consumed by greed, the Chinese show a willingness not seen in Hollywood to more accurately represent their country's current view of the world. The hypocrisy of China effectively censoring American entertainment, while skewering Americans on its own entertainment, is consistent with the other elements of Chinese policy. For example, every major American social media company is banned in China, but efforts to do so with TikTok in the U.S. have elicited outrage in China. Lamenting the lack of Chinese villains in entertainment doesn't mean I'm suggesting that we need cartoonish Chinese bad guys crudely depicted for low-brow entertainment or jingoism. But art should depict the world as it is. Although blockbuster movies are not necessarily intended to educate, they are a platform for our culture to understand its adversaries. For instance, the Bond thriller 'From Russia with Love' played a small role in America's understanding of the struggle we were engaged in with the Soviet Union. Censoring our entertainment out of misplaced deference to China leaves our society less knowledgeable about the challenges we face from that country — one of the main reasons China has surely enjoyed the leverage it has held on Hollywood. Many Americans know on some level that we are engaged in a struggle with China for global primacy that will play out over many decades. But I would estimate that the portion of society that understands the broad outlines of that struggle is much lower than during the Cold War, when Hollywood produced plenty of content portraying that struggle. The storylines for fascinating entertainment are certainly there. Over the last several decades, the Chinese have been engaged in an unprecedented campaign of industrial espionage, which I have seen clearly in my work in corporate security, and which would make for riveting and complex thrillers. The Chinese have been engaged in high-stakes brinksmanship against American allies in the South China Sea and have supported Houthi efforts to target American military assets. Chinese support for Russia's war against Ukraine, it's establishment of illegal 'police stations' in U.S. cities to spy and stifle dissidents, as well as its Orwellian repression of its Uyghur population are just some of the robust storylines that could be mined for riveting entertainment while also educating Americans about our leading adversary. It's worth noting that if you talk to Hollywood executives, they quickly acknowledge their position with China. John Sipher, a former senior CIA official and now CEO of Spycraft Entertainment, has heard similar things for years. 'We are encouraged by producers to find other bad guys. I haven't yet encountered anyone willing to consider exploring characters from Chinese intelligence or paramilitary groups,' he told me in an interview. These producers and executives will point out that their concerns aren't limited to losing the lucrative Chinese market. There have been large amounts of Chinese investments in producing content in recent years, and Hollywood executives are reluctant to lose such valuable funding. It's also because Hollywood remembers that damaging and embarrassing 2014 hack of Sony Pictures Entertainment by the North Koreans, who were unhappy about how the movie 'The Interview' portrayed their country and its leader. The fallout from that incident lingers in Hollywood, and no studio wants to be the target of a major cyberattack by the Chinese, who have strong capabilities in this area. But with the Trump tariffs and trade war with China seemingly in full swing, China has announced it will curtail the import of American films. On Sunday, Trump announced 100 percent tariffs on foreign movies on his social media network, saying Hollywood is dying a 'very fast death.' With the Chinese market now off-limits for Hollywood, will the industry find its voice when it comes to depicting the Chinese? I suspect not, at least not right away. The Chinese could make a deal with the U.S. on tariffs and Hollywood could go back to salivating over the Chinese market and remain reluctant to develop accurate and complex stories depicting Chinese characters. It's worth wondering if Hollywood can still accurately depict America as the good guys. With an administration that has abandoned democratic allies in favor of repressive, dictatorial states, the rule of law being undermined as Trump consolidates power and nativist and illiberal policies leading to people with no criminal record being snatched off American streets and sent to foreign gulags, it's getting harder to say. Jeremy Hurewitz was a journalist based in China and is the author of ' Sell Like a Spy .' He is the Head of Interfor Academy . Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. For the latest news, weather, sports, and streaming video, head to The Hill.
