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With the largest population in the world, at 1.4 billion people, and a rising middle class with more disposable income, China is poised to pass North America as the world's largest movie market as quickly as next year.

February's cinematic success was largely attributable to the Chinese blockbuster "The Mermaid," a romantic sci-fi movie with an environmental theme.

Same-day, or “day-and-date” releases, often gross higher than films whose release in China is delayed by several months.

The movie is one of only three Hollywood films to rank among China’s top ten highest-grossing films so far this year, behind Disney’s animated film “Zootopia” and the epic space drama “Star Wars.” But it is, like some other Hollywood blockbusters, dwarfed by an increasing number of modest-budget Chinese-language films released in recent years, which can easily rake in over 1 billion yuan ($154 million). Russo, who is also making a new “Avengers” film in the next few years, thinks that making big-budget tentpoles still makes sense: The visuals and big storytelling offer good reasons for viewers to drag themselves to theaters at a time when subscription-based platforms such as Netflix or Amazon are providing people with more options at lower expense, he said.

But Hollywood certainly would like to see some concrete change that would curtail the “shenanigans” and “tricks” that increased this year.

What this next year holds is to a degree anyone’s guess since the powers that be in the Middle Kingdom are known to move the goalposts at a whim.

“The young Hollywood and Asian directors who can’t get support from big Hollywood studios will come to China because Chinese capital is overflowing,” said Mr.

Yu, whose company recently delisted from the Nasdaq stock market and has won investments from arms of Chinese Internet giants including Alibaba Group and Tencent Holdings.

However, it might take waiting out 2016 before seeing any major shifts. The eight studio films that topped 0M tallied roughly

Yu, whose company recently delisted from the Nasdaq stock market and has won investments from arms of Chinese Internet giants including Alibaba Group and Tencent Holdings.However, it might take waiting out 2016 before seeing any major shifts. The eight studio films that topped $100M tallied roughly $1.44B versus 2014’s five movies over the century mark, which equaled about $781M.Growth of 84% is not chump change, and the studios recoup $360M of this year’s number. When in June, the local market went into what one Western exec termed “a panic”: Hollywood films were succeeding at a breakneck pace, while China had not had a movie of its own cross $150M since February.The seminar was attended by a number of big-name Western filmmakers including veteran British producer Iain Smith, whose recent productions include “Mad Max: Fury Road”(2015), and American actress Natalie Portman, who brought her directorial debut “A Tale of Love and Darkness” (2015) to this year’s festival.James Schamus, an award-winning American screenwriter and producer whose credits include Ang Lee’s “Crouching Tiger, Hidden Dragon”(2000), said at the seminar that China is helping to “create a new Hollywood which is going to be paradoxically not as Chinese as we think it is, but more Chinese than we know.” Joe Russo, the director of Marvel’s “Captain America” franchise, said in a separate interview with China Real Time in Beijing on Sunday that a growing number of Hollywood producers are coming to China for both “economic and artistic reasons.” “The film market in the U. is becoming more and more about branded content, the safe play,” said Mr.The movie—which tells the tale of a mermaid sent to kill a property developer who's working on a project that threatens her home waters, but later falls in love with him—has earned more than 3 billion yuan, or $460 million, so far.

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Yu, whose company recently delisted from the Nasdaq stock market and has won investments from arms of Chinese Internet giants including Alibaba Group and Tencent Holdings.

However, it might take waiting out 2016 before seeing any major shifts. The eight studio films that topped $100M tallied roughly $1.44B versus 2014’s five movies over the century mark, which equaled about $781M.

Growth of 84% is not chump change, and the studios recoup $360M of this year’s number. When in June, the local market went into what one Western exec termed “a panic”: Hollywood films were succeeding at a breakneck pace, while China had not had a movie of its own cross $150M since February.

The seminar was attended by a number of big-name Western filmmakers including veteran British producer Iain Smith, whose recent productions include “Mad Max: Fury Road”(2015), and American actress Natalie Portman, who brought her directorial debut “A Tale of Love and Darkness” (2015) to this year’s festival.

James Schamus, an award-winning American screenwriter and producer whose credits include Ang Lee’s “Crouching Tiger, Hidden Dragon”(2000), said at the seminar that China is helping to “create a new Hollywood which is going to be paradoxically not as Chinese as we think it is, but more Chinese than we know.” Joe Russo, the director of Marvel’s “Captain America” franchise, said in a separate interview with China Real Time in Beijing on Sunday that a growing number of Hollywood producers are coming to China for both “economic and artistic reasons.” “The film market in the U. is becoming more and more about branded content, the safe play,” said Mr.

The movie—which tells the tale of a mermaid sent to kill a property developer who's working on a project that threatens her home waters, but later falls in love with him—has earned more than 3 billion yuan, or $460 million, so far.

||

Yu, whose company recently delisted from the Nasdaq stock market and has won investments from arms of Chinese Internet giants including Alibaba Group and Tencent Holdings.

However, it might take waiting out 2016 before seeing any major shifts. The eight studio films that topped $100M tallied roughly $1.44B versus 2014’s five movies over the century mark, which equaled about $781M.

Growth of 84% is not chump change, and the studios recoup $360M of this year’s number. When in June, the local market went into what one Western exec termed “a panic”: Hollywood films were succeeding at a breakneck pace, while China had not had a movie of its own cross $150M since February.

The seminar was attended by a number of big-name Western filmmakers including veteran British producer Iain Smith, whose recent productions include “Mad Max: Fury Road”(2015), and American actress Natalie Portman, who brought her directorial debut “A Tale of Love and Darkness” (2015) to this year’s festival.

.44B versus 2014’s five movies over the century mark, which equaled about 1M.

Growth of 84% is not chump change, and the studios recoup 0M of this year’s number. When in June, the local market went into what one Western exec termed “a panic”: Hollywood films were succeeding at a breakneck pace, while China had not had a movie of its own cross 0M since February.

The seminar was attended by a number of big-name Western filmmakers including veteran British producer Iain Smith, whose recent productions include “Mad Max: Fury Road”(2015), and American actress Natalie Portman, who brought her directorial debut “A Tale of Love and Darkness” (2015) to this year’s festival.

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