With the booming development of the film market on the Chinese mainland, Ne Zha 2 set a record of over 8 billion yuan ($1.1 billion) in box office revenue within just 12 days, a record for Chinese cinema history. This highlights the dire state of the Hong Kong film industry, which is facing an unprecedented winter, with a puzzling decline in audience attendance figures. Does the public no longer enjoy going to the cinema? Or do the films shown in Hong Kong fail to attract viewers because of their content and quality?
The mainland’s Spring Festival release schedule was filled with blockbusters, including Ne Zha 2, Creation of the Gods II: Demon Force, and Detective Chinatown 1900, all of which are sequels to successful franchises. There were also films like The Legend of the Condor Heroes by Hong Kong director Tsui Hark and Operation Hadal by Dante Lam. During the Spring Festival period, the mainland box office garnered nearly 15 billion yuan, with Ne Zha 2 accounting for 8 billion, Detective Chinatown 1900 for 3 billion, and Creation of the Gods II: Demon Force for 1 billion — all impressive results! During my visit to the mainland over the Spring Festival, I experienced the situation where I wanted to catch a movie but found all the seats were sold out. The need to book tickets one or two days in advance has become a rare experience in Hong Kong in recent years.
While people often say that the rise of online streaming platforms has reduced audience attendances, it turns out that when a good movie is released, audiences are still willing to support it by going to theaters. Look at Hong Kong, in 2024, there were two films, Twilight of the Warriors: Walled In and The Last Dance that surpassed HK$100 million ($12.9 million) at the box office. This proves that as long as the film is outstanding, it can still attract audiences to support it.
So why is the Hong Kong film industry entering a winter?
One reason is the profound impact of social division in Hong Kong. Especially after the 2019 protests, the political divide has even extended into the entertainment industry. Audience choices are influenced by political stances; some viewers may know that certain films have good reviews but refuse to attend due to the political identities of certain actors or the film’s background.
In such a social context, film producers often choose actors and scripts that are biased toward a particular political faction to cater to specific audience demands, limiting the diversity of films. Audiences no longer choose based solely on the quality and storyline of the film but use political stance as a criterion, which affects box office performance. This situation not only poses challenges for the development of Hong Kong films, but also places local creators in a dilemma. Engaging in a so-called “yellow economic circle” leads to self-destruction. The same goes for the music industry in Hong Kong, and the film industry is no different.
Despite the many challenges faced by Hong Kong cinema, there is still hope for revitalization. Digesting the opinions above, creators need to be bold in exploring new themes and uniqueness while also strengthening the application of new technologies to enhance production quality. Moreover, collaboration and support within the industry are crucial; only through the collective efforts of the industry, setting aside unnecessary political stances and prejudices, can Hong Kong cinema find a way amid fierce market competition and return to its former glory
Moreover, the decline of Hong Kong cinema is not solely because of political factors; there are many other complex reasons.
With advancements in technology and changes in consumption patterns, traditional cinema viewing is being affected by online streaming platforms, allowing audiences to watch films anytime and anywhere on their phones, TVs and computers. This has altered peoples’ viewing habits, with many preferring to enjoy a comfortable viewing experience at home rather than going to a cinema, directly affecting box office revenues. Nowadays, the incentives for audiences to buy tickets to watch movies in theaters are generally blockbuster international films, major productions, critically acclaimed films, or those promising exceptional sound or visual effects. Therefore, film investors must clearly define whether the film is positioned primarily for theaters or online platforms to accurately calculate costs.
Additionally, with the two markets being interconnected, moviegoers can enjoy films on the mainland at half the price compared to Hong Kong. Thus, the Hong Kong Special Administrative Region government should subsidize the industry during these difficult times, allowing residents to watch films at discounted prices more frequently. Conversely, Hong Kong can release movies that are not screened on the mainland, attracting mainland viewers to Hong Kong.
As society evolves, audience demands are continuously changing. However, the current selection of themes in Hong Kong films has become homogenized. Many films repeatedly use similar themes, lacking innovation and diversity. In the past, Hong Kong films attracted a large audience with their unique styles and themes. Whether action, comedy, or romance, they resonated with viewers. However, in recent years, some films seem to cater more to niche markets while neglecting the tastes of a broader audience. This situation has weakened the appeal of Hong Kong cinema, leading to reduced anticipation for new films. With increasingly discerning audiences desiring deeper and more diverse works, they prefer films that provoke thought and resonance. Breaking this deadlock, seeking innovative and appealing themes, and nurturing screenwriting talent are issues that Hong Kong film producers need to address.
As for internal industry issues, the problem of insufficient production funding cannot be overlooked. This prevents many creators from obtaining adequate support for high-quality projects, resulting in many excellent scripts and ideas going unrealized. It has been suggested that Hong Kong films adopt a “stock system” for fundraising, where each independent film could raise funds through “film stocks”, allowing for short-term investments from preparation to screening over several years. This could solve funding problems while also attracting trading on the Hong Kong stock exchange, enabling residents to invest in films they believe in. The government could consider the feasibility of this approach.
Furthermore, the reality of talent loss in Hong Kong’s film industry is starting to take a toll. Many talented directors, actors and technicians are choosing to develop their careers on the mainland or in other regions, leading to a depletion of talent.
Market demand exists because there is a market, but Hong Kong’s market is too small. In fact, Hong Kong filmmakers can also learn from the successful experiences of the mainland by collaborating more with them to increase funding sources and expand the market; actively exploring cooperation opportunities with the international market to absorb strengths from others, optimizing content, enhancing production quality, and improving marketing strategies, can all help boost the attractiveness and marketability of Hong Kong cinema. We should stop holding onto an outdated notion of Hong Kong as the “Hollywood of the East” and stop elevating ourselves without humility or a willingness to learn from others. We should not be like some Hong Kong people who see themselves as “superior” to mainland people, leading to stagnation and regression.
Despite the many challenges faced by Hong Kong cinema, there is still hope for revitalization. Digesting the opinions above, creators need to be bold in exploring new themes and uniqueness while also strengthening the application of new technologies to enhance production quality. Moreover, collaboration and support within the industry are crucial; only through the collective efforts of the industry, setting aside unnecessary political stances and prejudices, can Hong Kong cinema find a way amid fierce market competition and return to its former glory.
The author is a Hong Kong-based commentator, and a member of China Retold, a local youth academic group.
The views do not necessarily reflect those of China Daily.
