Ticket sales from blockbusters and festival encouraging but more must be done to build a solid industry, Xing Wen reports.

Spring Festival box-office revenues experienced a remarkable surge, hitting a record of 9.51 billion yuan ($1.31 billion) by the end of the holiday (Jan 28-Feb 4). Leading the charge was the animated hit Ne Zha 2, which made history as the first Asian film to exceed $2 billion in earnings, and claim a spot in the top 6 global box-office rankings.

As of last Wednesday, the film has been watched by over 300 million viewers, becoming the first in Chinese cinematic history to reach this milestone.

During the ongoing two sessions, this cultural sensation was fervently discussed by members of the 14th National Committee of the Chinese People's Political Consultative Conference from the film industry.

Jin Dong, a CPPCC National Committee member and A-list actor, remarked that the film is a "strong stimulant" for the Chinese film industry.

"The success of one film does not mean all films are successful. I hope all filmmakers, including myself, will write more solid scripts to produce better films," he added.

Wang Pingjiu, a CPPCC National Committee member and deputy editor-in-chief of China Central Television's movie channel, pointed out that in today's film market, content is king.

He said that excessive reliance on industrial special effects, overcommercialization, exaggerated comedy, and manipulative emotional appeals are increasingly unpopular with Chinese audiences.

"For Chinese filmmakers, it is important to draw cinematic elements from the country's cultural heritage and the trends of the times," Wang added.

Huangfu Yichuan, a CPPCC National Committee member and a researcher at the China Film Art Research Center, agreed.

He added that Ne Zha 2 is a coming-of-age story and its themes of family bonds, personal growth, and defying fate resonate with audiences everywhere.

"It speaks to universal human emotions through a Chinese aesthetic approach," he said.

Huangfu emphasized the substantial influence of the IP effect on this year's Spring Festival movie market. He said that the six films that opened during the period covered a wide range of genres and themes, such as martial arts, mythology, comedy and action, and appealed to varied tastes and different age demographics.

Additionally, some of the films leveraged existing fan bases to bolster their success.

For instance, Boonie Bears: Future Reborn is the 11th installment in the Boonie Bears film series, which has been running since 2014. Similarly, Detective Chinatown 1900, which is a prequel to Chen Sicheng's highly successful suspense-comedy franchise, the Detective Chinatown series, recently surpassed 3.49 billion yuan at the box office.

He believes that the impressive performance of films during the Spring Festival holiday is a direct outcome of the ongoing exploration by Chinese filmmakers.

"Ne Zha 2 skillfully intertwined themes of youthful growth with a mythological backdrop, whereas Detective Chinatown 1900 maintained its blend of suspense and comedy while incorporating historical narratives and patriotic sentiments," he said.

Huangfu said that some Hollywood blockbusters don't seem to be as popular as they used to be, especially in the Chinese market. This could be due to audience fatigue with the formulaic narratives and special effects of Hollywood, and a desire to see more innovative films.

"The world today is actually seeking diversity. The fact that Chinese films are going global is itself providing the world audience with variety and freshness," he said, adding that Ne Zha 2 has earned more than 150 million yuan overseas.

"This box-office figure is small, but it's a start," he said.

This year, Fu Ruoqing, a CPPCC National Committee member and the chairman of China Film Group Corporation, proposed measures to boost national film consumption.

Fu emphasized that relying solely on the bustling Spring Festival season and a few blockbuster films is not sufficient to sustain a vibrant film market. To increase moviegoing, it is crucial to introduce policy innovations that break through existing barriers, fostering a healthier and more prosperous film ecosystem.

"By maximizing the use of cinema spaces and introducing different programs, cinemas can evolve into cultural venues offering various forms of entertainment," Fu said.

"Cinemas can become venues where audiences gather to watch live broadcasts of sports events, artistic performances, concerts, and other activities. By transforming cinemas into 'second venues' for cultural and sports activities with exceptional audiovisual quality, they can attract viewers who are not frequent moviegoers," he explained.