China Focus: Film insiders call for compelling narratives to bring young people back to cinemas

BEIJING, Nov. 17 (Xinhua) — Chinese film industry insiders have called for more innovative productions and compelling narratives to re-engage young audiences, as a recent analysis of China’s moviegoer demographics has revealed the waning appeal of cinemas among people in their early twenties.
From 2018 to 2024, the proportion of ticket buyers aged 20-24 in China dropped from 30 percent to 17 percent, according to the 2024 Report on Trends in Chinese Film Audiences released on Friday on the sidelines of this year’s China Golden Rooster and Hundred Flowers Film Festival.
Young people aged 25-29 have continued to be major film consumers, representing a share of about 27 percent over the six-year period, as shown in the report jointly released by the China Film Association and the Lighthouse Research Institute under Alibaba Pictures.
Bona Film Group Chairman Yu Dong said in the report that the changing age demographics of cinemagoers represent a significant shift in the market. He cited the COVID-19 pandemic as one reason, explaining that the pandemic has altered the film-viewing habits of college students from cinemas to online video platforms and even short video hosting services.
“Cinemas are losing young audiences,” said Dirty Monkeys Studio CEO Wang Yibing, as cited in the report. He noted that younger generations today, attracted by various forms of entertainment, might not be as enthusiastic about movie theaters as previous ones.
Founded by Ning Hao, director of the 2006 blockbuster “Crazy Stone,” Dirty Monkeys Studio has established a reputation for supporting young film creators. Its recent market successes included the crime drama “No More Bets,” which ranked third in the Chinese mainland’s box office chart of 2023.
During a speech in August, Mao Yu, deputy director of the China Film Administration, also warned that the issue of young audiences distancing themselves from cinemas “had not been effectively addressed.”
“We need to make a change right now,” he stressed, calling for efforts to foster creative film talent, facilitate innovation and technology application in film production, and promote the reform of the film industry.
The report pointed out that film practitioners need to leverage the unique advantages of films over alternative forms of entertainment, and encourage people to visit, experience and remain loyal to cinemas.
The industry needs to increase the quantity, quality and diversity of offerings while consistently delivering content that appeals to audiences, it said.
Director Dong Runnian suggested that filmmakers should study online trends and understand audience psychology. Dong’s comedy-drama “Johnny Keep Walking!” has been a hit among young audiences since its release at the end of last year.
“Modern films require greater information density and faster pacing, which align with the viewing habits of audiences in the internet age,” he said.
According to the report, audiences are more selective regarding the quality and content of films, preferring productions with captivating stories, content resonating strongly with trending topics, intense emotional experiences and impressive visual effects.
“The core drive for audiences to go to the cinema remains compelling and captivating stories,” said Mu Chen, head of the Lighthouse Research Institute, adding that filmmakers should trust the power of good storytelling.
Yin Hong, vice chairman of the China Film Association, said that while comedy, suspense, military and action films will continue to be dominant in the industry, the era of single-genre dominance has come to an end. Audiences now expect more genre fusion and a wider variety of topics in films.
The report also shows that between 2018 and 2024, the proportion of female ticket purchasers rose from 51 percent to 58 percent, indicating that females are growing into a greater driver of the Chinese film market.
Liu Ruifang, CEO of Beijing Joy Leader Culture Communication, a co-producer of the 2018 blockbuster “Dying to Survive,” believes that women’s themes could become a significant area of film innovation in the future.
“We hope that domestic films will further enrich the diversity of female-focused narratives, using a variety of storylines to comprehensively depict women’s lives and needs,” Liu said in the report.
She added that she expects young creators to explore how women overcome challenges physiologically and psychologically, as well as more innovative themes that delve into women’s independence and inspire their pursuit of self-realization and personal growth. ■