Beijing, February 13, 2024, The Europe Today: The 2024 Spring Festival box office in China has witnessed a remarkable surge, surpassing 3.5 billion yuan (492.7 million U.S. dollars) within the initial three days of the holiday period, marking a nearly 17 percent year-on-year increase.
Running from February 10 to 17 this year, the Spring Festival, or Chinese New Year, traditionally serves as a lucrative period for movie ticket sales. The extended eight-day holiday is anticipated to draw more movie-goers to cinemas, promising a robust start to the Chinese film market in 2024.
On February 10, eight films made their debut, competing for audience attention. Among them, the domestic comedy-drama “YOLO,” directed by and starring renowned comedian Jia Ling, emerged as the highest-grossing title so far, generating over 1.3 billion yuan in revenue as of Tuesday morning, according to box office tracker Dengta Data.
This success narrowly edged out the comedy “Pegasus 2,” which earned nearly 1.2 billion yuan in its first three days of release. Written and directed by writer-turned-director and racing driver Han Han, the film serves as a sequel to his 2019 Spring Festival holiday hit “Pegasus.”
In the Spring Festival box office rankings, the animation “Boonie Bears: Time Twist” secured the third spot, amassing a total revenue of 714 million yuan since its debut.
Notably, most films released during this Spring Festival holiday focus on the lives of ordinary people or social issues. While lacking the grandeur of previous blockbuster releases like “The Wandering Earth II,” this year’s films resonate with audiences by addressing relatable and familiar themes.
Renowned Chinese director Zhang Yimou, known for historical blockbusters, shifted gears with “Article 20,” a realistic drama inspired by the public discussion about justifiable defense in China’s Criminal Law. The film has received praise on China’s online film ranking platform Douban, with a rating of 7.9/10, highlighting its depiction of daily life and its spirit of upholding judicial justice.
Similarly, “YOLO,” telling the inspiring story of a woman regaining control of her life by training to be a boxer, resonated with audiences for its realistic depiction of overcoming challenges.
Cheng Zhangli, a filmgoer in Beijing, expressed her emotional connection to “YOLO,” stating, “The heroine’s unbending spirit moved me so much.” As the Spring Festival holiday unfolds, the Chinese film industry anticipates continued success at the box office, driven by a diverse range of compelling narratives that connect with audiences on a personal level.
