2022-01-02

China Film annual report: box office 47.258 billion, back to 70% before the epidemic

By yqqlm yqqlm

Lighthouse released the annual report of Chinese films in 2021, with an annual box office of 47.258 billion, recovering to 70% before the epidemic

2339504973 - China Film annual report: box office 47.258 billion, back to 70% before the epidemic

the film Changjin Lake broke the film history record with a box office of 5.77 billion

on January 1, lighthouse Research Institute and lighthouse Professional Edition jointly released the 2021 annual report on China’s film market entitled “new pattern and new vitality”, which reviewed the industry development in the past year and focused on the future market pattern, Focus on the industry’s exploration and excavation of new schedules and potential viewing power

according to the report, as the first year after the epidemic stabilized, the total box office of Chinese films reached 47.258 billion in 2021, returning to 74% before the epidemic. In terms of content supply, 697 films were released throughout the year, a record high. The sinking market continues to expand, and the share of the third and fourth tier cities approaches 40% for the first time. Among them, the fourth tier cities recover rapidly after the epidemic, and their annual film viewing trips exceed those of the first and third tier cities

in terms of content market, “China narrative” has become the core theme of the past year. The box office of imported films accounted for 20% of the market in 2021, less than 1 / 2 of that in 2016; On the other hand, domestic films led by the theme continued to achieve stable development in this year. Among them, the film Changjin Lake broke the film history record with a box office of 5.77 billion. Its creation continued to be close to the spirit of the times and continued the “Chinese narrative”

according to the report, in 2021, users’ consumption habits are more short-term and festive viewing, ticket properties are concentrated in the Spring Festival and national day, and the number of films released in non key schedules and box office output have decreased. There were 27 films with a box office of more than 200 million in the whole year, of which 60% were released in large schedules; There are 12 films released outside the large schedule, mainly romantic films and crime / suspense films

the report shows that in 2021, when the epidemic situation occasionally repeats, the cinemas restart after a short shutdown, so that the compressed willingness to watch movies can be output in an explosive manner. For example, the cinemas in Xiamen were restarted on October 6 after 20 days of shutdown, with a box office of 6.73 million on that day, exceeding the peak of the same period last year. The enthusiasm for watching movies continued until the first weekend after the festival. The data show that under the conditions of appropriate content and schedule, users still have a lot of willingness to watch movies to be released

the upcoming 2022 Spring Festival will gather many head films again. According to the data, at present, super power family, four seas and miracle rank among the top three with high popularity; In terms of user composition, “super family” and “Four Seas” have no obvious tendency, while “miracle” has a high proportion of young women. In addition, there are as many as six animated films in the Spring Festival, among which the new works of pleasant goat and grey wolf and bear haunt, the two children’s IP, occupy the top two places that want to see. The head content drives the movie viewing power. The Spring Festival will be a strong start for Chinese films in 2022

On January 1, cat’s Eye Research Institute released data insight into China’s film market in 2021, which reviewed China’s film market in 2021 from multiple dimensions such as market size, schedule characteristics, audience viewing willingness and motivation, and types of domestic films

in 2021, China’s film market won the global box office champion with 47.258 billion yuan. The top three annual box offices were Changjin lake, Hello, Li Huanying and Chinatown detective 3. The total box office of the three exceeded 15 billion yuan. This is also the second consecutive year that three Chinese films have ranked among the top ten in the global ticket room. Among them, “Chinatown detective 3” and “Hello, Li Huanying” alternately led the Spring Festival, setting a new record of 7.842 billion Spring Festival box office; “Changjin Lake” led the national day market to rise repeatedly, boosting the national day market to win 4.388 billion box office in seven days, the second highest box office in the history of the schedule

looking at the box office of the whole year, cat’s Eye Research Institute found that in 2021, audiences tend to choose to watch movies on holidays, and the proportion of box office on holidays has risen sharply to 36%. At the same time, the box office of head films has repeatedly set new records, which also reflects that viewers’ choice of films is more concentrated than before. Correspondingly, the box office output on weekdays decreased in 2021, and there was a fault in the box office and quantity of waist films. By reviewing the market data, it can be seen that the above market characteristics of “watching blockbusters in concentrated time” largely reflect the weakening trend of the viewing motivation of low-frequency movie viewers compared with previous years

to raise the ceiling of the market, we need to know more about consumers. By comparing the annual ticket portrait data of cat’s eye year by year, it can be seen that the composition of consumers in the film market has changed significantly in 2021. With the first batch of post-2000 adults entering adulthood, they quickly poured into the film market and gradually became the main force of consumption, driving the younger overall audience structure of China’s film market

it is worth noting that according to the insight data, from the perspective of film viewing preferences among generations, youth, love, youth animation, thriller and other types are the preferred themes after 00; In addition to youth and love, post-95 films also choose more suspense films; The post-90s have a stronger preference for action, adventure and other types of films; The strong demand for parent-child film viewing of the post-80s is obviously reflected in their enthusiasm for animated films; Plot films and historical war themes have a stronger appeal to Post-70s and pre-70s audiences

from the perspective of sub tier cities, the audience’s viewing preference in first tier cities focuses on imported films and biographical films; In addition to imported films, second tier cities also favor domestic films such as suspense and action; Third tier city audiences’ choice of parent-child animated films has increased significantly; In the fourth tier cities, the themes of love and youth are more popular

different growth environments, consumption habits and aesthetic interests affect the concept of film viewing and consumption of several generations. The report emphasizes that understanding the preferences and needs of audiences in all generations and lines of cities and studying and judging the fine data of audience preferences can provide ideas for the types of films invested and produced at the industrial supply end and the distribution end, so as to strengthen the audience’s viewing motivation and improve the viewing frequency, which is also the fundamental way to solve the problem of “polarization of market capacity”

text / our reporter Xiao Yang / man Yi