China Box Office Slows to Crawl Speed Ahead of National Day Holiday

Patrick Frater Asia Bureau Chief Chinese filmmaker, Bi Gan, best-known for his single-take feature “Long Day’s Journey Into Night” has seen his “A Short Story” picked up by Kino Lorber for distribution in North America. A fairy tale that follows the relationship between man and cat, the film had its world premiere in competition at the 2022 Cannes Film Festival and now has its North American premiere in the Currents section of the New York Film Festival. Kino Lorber plans to qualify “A Short Story” for the 96th Academy Awards, showing it theatrically nationwide in early 2023 in tandem with a theatrical re-release of “Long Day’s Journey Into Night.” “Kino Lorber rarely acquires short films, but Bi Gan has packed more cinematic delight into the fifteen minutes of ‘A Short Story’ than many feature length films deliver in two hours,” said Kino Lorber SVP Wendy Lidell. The deal was brokered by Les Films du Losange.

Patrick Frater Asia Bureau Chief Novelist Amy Tan and Oscar-winning “Rain Man” screenwriter Ron Bass are on board to deliver a sequel to “The Joy Luck Club,” the 1993 movie that broke new ground for Asian American representation. The new film, “Joy Luck Club 2,” is set up at Ashok Amritraj’s Hyde Park Entertainment Group, with Ashok and Priya Amritraj producing alongside Tan, Bass and Jeff Kleeman. A director hasn’t been announced yet. The original “Joy Luck Club,” directed by Wayne Wang, was an epic, multigenerational saga of Chinese and Chinese-American mothers and daughters, whose histories, stories and lives interweave as they navigate life. Club members included characters played by Tsai Chin, France Nuyen, Lisa Lu and Kieu Chinh. The ensemble cast also included Tamlyn Tomita, Rosalind Chao and Russell Wong.

Patrick Frater Asia Bureau Chief Patriotic rescue film “Homecoming” largely dominated the Chinese box office over the latest weekend and brought to a close a deeply-depressed National Day holiday period. “Homecoming” earned $21.5 million between Friday and Sunday to lift its ten-day cumulative to $163 million, according to data from consultancy Artisan Gateway. That score accounted for a 71% share of the weekend’s $30.3 million total. Second-placed film “Ordinary Hero” earned just $2.2 million, giving it a ten-day total of $19.7 million. Previous top-ranking film, “Give Me Five” held on to third place, despite the volley of new releases on either September 30 or October 1. It collected $1.7 million for a cumulative of $60.8 million since release on Sept. 9, 2022.

Rebecca Rubin Film and Media Reporter “Ticket to Paradise,” a romantic comedy that reunites Julia Roberts and George Clooney, is (surprise, surprise) charming audiences at the international box office. The movie has generated $60 million overseas to date, a promising start given the current challenges facing theatrical rom-coms. Of course, it helps when the genre gets a boost from megawatt stars like Roberts and Clooney. According to Universal, which is backing the film, “Ticket to Paradise” is outpacing recent meet-cute stories like “The Lost City,” “Last Christmas” and “Crazy Rich Asians” at the same point in their respective big-screen rollouts. Over the weekend, “Ticket to Paradise” earned $10.5 million from 61 territories, including debuts in France ($1 million), Mexico ($1 million) and Italy ($800,000). In holdover markets, “Ticket to Paradise,” which features Clooney and Roberts as exes who try to stop their daughter from marrying a near stranger, has been popular in Australia ($8.5 million), the United Kingdom and Ireland ($7.4 million) and Germany ($7.4 million). It opens Oct. 21 in the U.S. and Canada.

Jordan Moreau “Lyle, Lyle, Crocodile” is slowly getting ready to take a bite out of the weekend box office. It earned $575,000 from 3,453 theaters in Thursday previews, while David O. Russell’s “Amsterdam” picked up $550,000 million from 3,005 theaters. Sony’s live-action/CGI hybrid, co-financed by TSG, is a family-friendly movie about a singing crocodile, starring Grammy-nominated artist Shawn Mendes as the titular reptile. The studio projects an opening haul of $11 million to $12 million, with some projections belting out upwards of $15 million. With a budget of $50 million, it will need plenty of support from kids and families over the fall to snap up a profit. The cast includes Javier Bardem as Hector P. Valenti, Lyle’s flamboyant owner, Brett Gelman as Mr. Grumps and Constance Wu, Scoot McNairy and Winslow Fegley as the Primm family. The Primms move to a new house in New York City, where they discover Lyle, a saltwater crocodile with the voice of a high-end recording artist, living in their attic.

Patrick Frater Asia Bureau Chief Hong Kong multi-hyphenate Peter Chan Ho-sun is far too intellectual to call himself an “arms dealer,” as Sony Pictures has in casting itself as an unattached supplier to streaming platforms. But politeness and Bob Dylan references aside, Chan’s new company, Changin’ Pictures, aims to become a major independent purveyor of premium Asian TV content for the streamers. The company is using this week’s Busan International Film Festival as its launchpad and will unveil the first five series of its 20-title pan-Asian slate.  Chan’s thesis is that global audiences are hungry for Asian content but have not been able to access it easily under legacy film and TV distribution systems. With streaming making everything accessible everywhere, and audiences no longer balking at subtitles, quality Asian drama can and will travel.

Brent Lang Executive Editor In one corner, a star-studded murder mystery from one of the most acclaimed directors in Hollywood. In the other, a family fable that features a CGI crocodile who sounds a lot like Shawn Mendes. As Hollywood heads into another quiet fall weekend at the box office, David O. Russell’s “Amsterdam” is squaring off against “Lyle, Lyle, Crocodile,” and both new releases are facing strong competition from reigning champ “Smile.” Of the two new entrants, “Lyle, Lyle, Crocodile” seems to be in the stronger position. There haven’t been many movies geared toward kids — the last one was “DC League of Super-Pets” way back in July. The $50 million production will open in more than 4,300 locations, where it should make $15 million or more. Sony Pictures, the studio behind the film, is being more conservative and projecting an opening in the $11 million to $12 million range. That could be enough for a first-place finish, depending on how steeply “Smile,” which opened to $22.6 million, drops in its second weekend of release.

Patrick Frater Asia Bureau Chief EST Studios, the film company established this year by 88Rising co-founder Jaeson Ma and former Vice Media executive Eric Tu, has struck a partnership arrangement with China’s Hugoeast Media. The partnership is looking at an initial slate of eight projects, with EST Studios representing sales at the major film markets including the upcoming Asian Contents and Film Market and Asian Project Market at the Busan International Film Festival. EST will be the exclusive representative for Hugoeast’s titles in North America. In other territories (outside of China) it will handle them on a non-exclusive basis.

Patrick Frater Asia Bureau Chief Fresh from a chaotic Singapore Grand Prix on Sunday, TV coverage of Formula One motor racing is set to shift broadcasting partner in Asia-Pacific. Sports Business reports that pay-TV broadcaster beIN Sports is finalizing a multi-year deal beginning in 2023 reaching across most of its Asia-Pacific footprint, but excluding Australia, where Foxtel recently renewed its deal, and New Zealand.

Patrick Frater Asia Bureau Chief Patriotic action film “Homecoming” dominated cinemagoing in China over the weekend with a nearly $60 million haul. But the National Day holiday season is in a deep slump compared with recent years. Directed by Rao Xiaozhi, the film is yet another tale of a heroic rescue of Chinese citizens in danger in foreign lands. In this instance, two Chinese diplomats must return to war-torn 2011 Libya to save 125 people who have been left behind. The film opened on Friday and garnered an impressive $59.3 million (RMB421) according to data from consultancy Artisan Gateway. It accounted for a thumping 67% market share. Imax reported that the film had been shot with Imax-certified cameras and that $3 million of the total came from its screens in China.

Sarigama Cinemas’ Ponniyin Selvan: Part One crashed the weekend box office at no. 6, looking at $4+ million on 500 screens for a per theater average of $8,260, the biggest of the top ten.

It was a varied offering at the international box office this weekend with newcomers from Hollywood and offshore markets, as well as notable holds, as we inch closer to full-on action later in October. 

Patrick Frater Asia Bureau Chief Soi Cheang Pou-soi’s crime thriller “Limbo” is the front-runner in the Golden Horse Film Awards, with 14 nominations. It is narrowly ahead of Taiwan-produced “Coo-Coo 043” and “Incantation,” which both have 13 nominations. All three films compete for the best feature award, best director, supporting actor, art direction, makeup and costume design, original film score, film editing and sound effects. The Taiwan-based Golden Horse Awards have long been considered as the most prestigious prize race for Chinese language films, but they have been boycotted by mainland Chinese films and filmmakers for the past three years on the order of mainland Chinese authorities. This followed a pro-Taiwan independence speech given from the stage in 2018 by a local prize winner.

Patrick Frater Asia Bureau Chief Online video is taking up the role of growth engine for the Asia Pacific video industry as free-TV in the region moves into long-term decline, says a new report. The video sector is forecast to remain robust this year, but recession could deal a blow to sector performance in 2023. Video sector revenues – defined as subscription fees and advertising generated by free TV, pay-TV and online video platforms – in 14 Asia-Pacific markets are forecast to will grow by 6.4% in the current year to reach $143 billion, according to Media Partners Asia.

"Don't Worry Darling" did not disappoint at the box office, darling. Olivia Wilde's sophomore release earned $19.2 million domestically, nabbing the top spot across theatrical releases nationwide.

Forty members of the crew and production team on Olivia Wilde’s new movie Don’t Worry Darling have spoken out to dispute “the absurd gossip” surrounding alleged on-set unrest during the production of the New Line Cinema pic starring Harry Styles, Olivia Pugh and Chris Pine.

The dinosaurs have done it as Universal/Amblin’s Jurassic World Dominion crossed the $1B mark at the global box office with Thursday’s business included. It took a little while, but that shouldn’t diminish that this makes the Colin Trevorrow-directed installment one of only three films to the milestone since the beginning of the pandemic. It is the No. 2 film of 2022 behind Top Gun: Maverick.

New Line’s Olivia Wilde-directed genre movie Don’t Worry Darling grossed $3.1M in previews split between Monday’s sold-out Imax fan screenings and Thursday showtimes that began at 4 p.m.

Patrick Frater Asia Bureau Chief Shares of Tencent Music Entertainment, China’s largest online music company, made a slow but steady start Wednesday in trading on the Hong Kong Stock Exchange. At the lunchtime trading break, the shares had climbed to HK$18.22, up from their opening at HK$18.00. They are traded under the number 1698. The company already has a listing on the New York Stock Exchange and the debut in Hong Kong is by way of an introduction that raises no fresh capital and does not involve the issue of new shares. The establishment of a secondary listing allows the company to reduce the risk of a delisting by the U.S. authorities or problems from Chinese authorities if they deem the company to be in breach of data security regulations.