A cinema in Beijing Photo:VCG

As 2025 draws to a close, China's film industry is gearing up for the New Year film season. Spanning from late November to December 31, this 34-day window is not just a celebration of cinema but a decisive battleground for the annual box office, which has already exceeded 46.2 billion yuan ($6.5 billion) so far this year. With nearly 40 films confirmed for release, the market is poised to surpass an ambitious 50 billion yuan target. 

Data from China's ticketing platform Maoyan underscores the intensity, as domestic productions are set to clash with international heavyweights in a spectacle of diversity and innovation. Industry experts are optimistic as well. 

Film critic Tan Fei highlighted the resilience of Chinese cinema amid global challenges in an interview with the Global Times: "Not only is the overall performance better than last year, but Chinese films are holding strong compared to international markets. North America and South Korea are in crises, while our Chinese New Year season remains a cornerstone of box-office success." 

This period, traditionally vital for revenue, could define 2025 as a year of transition, shifting from blockbuster dependency to a more balanced ecosystem. 

A diverse slate

The 2025 lineup exemplifies a new paradigm: "simultaneous focus on domestic and imported films," as described by Lai Li, an analyst with ticketing platform Maoyan. 

On the home front, audiences can anticipate a mix of genres, from heartfelt dramas to action-packed thrillers. Standouts include Walking to You, a poignant tale of perseverance; Under Current, which delves into investigative intrigue; My Father's Son, an exploration of familial bonds; Nobody: The One Who Matters, a sequel building on its predecessor's success; The Fire Raven, which offers promising high-stakes suspense; and Escape From The Outland, a trip to escape from danger. 

Imported films add a global flair, with Hollywood leading the charge. James Cameron's Avatar: Fire and Ash promises to redefine visual storytelling, while Wicked: Part Two continues its musical fantasy saga. Animated favorite Zootopia 2, which sees the franchise return after nine years, is generating buzz, with pre-sales already shattering records at over 200 million yuan by Monday. Maoyan's projections peg its opening day at 256 million yuan, potentially kick-starting a December surge. 

Artistic highlights are shining through as well. Bi Gan's Resurrection, a Cannes Special Award winner that was released on Saturday, grossed 124 million yuan over its opening weekend. Praised for its visual aesthetics - with an 82 Metacritic score and 90 percent Rotten Tomatoes rating - it injects vitality into the art film niche. 

"This diversity signals a market evolution," said Tan. 

Gone are the days of relying on singular hits. Instead, genre innovation fosters a healthier supply chain. Sequels like Nobody 3 coexist with experimental works, creating a slate that caters to varied tastes - from family animations to introspective arthouse pieces. 

Early releases are setting a positive tone. Resurrection's debut not only boosts art films but also demonstrates audience appetite for quality over quantity. 

As Lai noted, "The performance of this year's New Year film season is something to look forward to." With the annual box office teetering near 50 billion, films like Zootopia 2 could provide a necessary boost. 

Technological innovation 

A key driver this season is technological advancement, empowering both visuals and narratives. Avatar: Fire and Ash exemplifies this, employing the series' most complex effects and motion capture, delivered in 4K, 3D, and 48 frames per second. Cameron's vision aims to immerse viewers in Pandora's intricate world by pushing cinematic boundaries.

Poster of movie Avatar: Fire and Ash Photo: Douban

Chinese productions are matching this prowess. Resurrection incorporated virtual production for over 30 percent of its shots, using LED screens for real-time environments. AI integration, via models like DeepSeek, enhanced script analysis, storyboarding, and previews, boosting efficiency. Dynamic lighting matches achieve near-natural effects, showcasing domestic tech maturity. 

Rao Shuguang, president of the China Film Critics Association, views technology as film's bedrock: "Every advancement is driven by inventions. The first Avatar shocked Chinese filmmakers, highlighting the impact of revolution." 

Yet, he cautions against overreliance: "Technology is foundational, but audiences crave emotional resonance alongside spectacle." This balance is evident in the season's offerings, where tech elevates storytelling without overshadowing it. 

A year of transition and exploration 

2025 marks a pivotal "year of transition" for Chinese films, moving toward sustainable growth through genre diversity, ecosystem health, and optimized supply. 

Poster of movie Walking to You Photo: Douban

External pressures - from fast entertainment means like short dramas to societal shifts - challenge the industry, as Tan observed. "Film faces impacts from external forms and societal difficulties. Central to sustainability are mid-tier films, bolstering the market beyond tentpoles." 

Tan pointed to Ne Zha 2 as a benchmark: "Without such works in the coming years, how will we sustain the box office? We need a robust mid-tier to hold it up." 

This emphasis on breadth over singular hits could stabilize the industry long-term. 

As the season unfolds, with 40 films vying for attention, the Chinese market's resilience shines. Aiming for 50 billion yuan, it not only competes globally but innovates internally. 

Whether through Zootopia 2's family appeal, Resurrection's artistic depth, or Avatar's tech marvels, 2025's finale promises a vibrant close, setting the stage for future exploration.