0815THE CROSSING Press

Total Page:16

File Type:pdf, Size:1020Kb

0815THE CROSSING Press The Crossing Guo Chun Tian Drama 99 minutes /A China A Wanda Media Co. Ltd /:: Top Five work A: Peipei is a sixteen-year-old girl whose life straddles both sides of the Hong Kong-Mainland China border. She lives in Shenzhen with her mother and goes to school in Hong Kong every day. Having grown up in a hot climate, she and her best friend dream of going to Japan to see real snow. She tries to do some part-time work to earn some money for the trip. She is introduced to a gang of smugglers and ends up smuggling iPhones to Shenzhen. The work pays well and she becomes more ambitious, ending up working as an iPhone mule for the gang. At the same time, her family life and friendships begin to fall apart. Her new job leads her ever deeper into a situation that could easily spin out of control. About The Characters Peipei Starred by Huang Yao Sixteen-year-old Peipei was born in Hong Kong but lives in Shenzhen with her mother. Her father is native to Hong Kong and has his own family in Hong Kong, making Peipei a typical Danfeizai (a child born to one parent from Hong Kong and one from the Mainland). She struggles with her identity and is quiet on the surface, but deep down she yearns for love, which is why she grabs every opportunity to find love. She follows her friend Jo in everything she does, and the two of them regularly skip school. They also plan to travel to Japan together and, in order to earn enough money to cover their travelling expenses, she takes the huge risk of smuggling products across the Hong Kong border. But when Hao, Jo’s boyfriend, comes into her life, her world starts to change. Her friendship with Jo is challenged by her ambiguous affections for Hao. Though she tries her best to salvage both relationships, in the end she realizes that losing some of the things you cherish in life is often one of the brutal truths of being young. Hao Starred by Sunny Sun Twenty-year-old Hao dropped out of school at a young age and has no stable job. He is skinny and has a shark tattoo on his belly. His family runs a food stall, and ever since he was a small boy he has hung out with the tough local street youths. He believes he can only rely on himself. He loves money and thinks that money can buy him everything. Before the plain-looking Peipei comes into his life, no girl has ever managed to get close to the real him. For a short moment, he sees Peipei as a potential soulmate and even thinks they might have a future together. Jo Starred by Carmen Soup Sixteen years old and native to Hong Kong. She is one of Peipei’s closest friends. She is pretty and outgoing, but also capricious, vain and has a sense of superiority. Her life is like a beautiful, pink bubble until Peipei bursts it and awakens her from her illusion. From then on, Jo knows that she has nothing at all. Lan Starred by Ni Hongjie Peipei’s mother. She is good-looking and has a straightforward personality. At the end of the nineties she came to Shenzhen to make her fortune. She met Yong and soon after she gave birth to Peipei. She dreamt of becoming a wealthy Hong Kong wife, but things did not go quite how she had planned. She brought Peipei up alone and did what she could to give her daughter a good life. Peipei sees her mother as reckless and childish. It is only on the day Lan stands up for Peipei at the police station and shows how she would do anything to protect her daughter. Peipei finally understands that mother and daughter should help each other out and that their relationship is the most important thing in life. Sister Hua Starred by Kong May Yee Elena A charismatic, experienced woman who has seen it all. Everyone follows her lead. She values Peipei for her shrewdness and courage, qualities that remind her of her younger self. But the people she hires are nothing more than useful tools to her. When she finds out that Peipei and Hao are secretly stealing her business, she decides to teach them a lesson. Yong Starred by Liu Kai Chi Peipei’s father. He led a prosperous life at the end of the nineties as a delivery truck driver transporting goods between Shenzhen and Hong Kong. After meeting Lan, whom he took on as a mistress, he built a new “home” in Shenzhen without telling his wife back in Hong Kong. As time went by, Yong couldn’t afford the economic pressure of raising two families, so he gave up his life with Peipei and her mother, scuttling back to Hong Kong to live out the rest of his life. Shui Starred by Jiao Gang This 50-year-old man lives an unstable life. By virtue of his relationship with Sister Hua, he became leader of the smuggling trade on the Shenzhen side of the border. Shui does everything possible to earn as much money as he can and with his newfound wealth he is able to move his wife and child from the countryside to a town nearby. Peipei reminds him of his daughter and he develops a fondness for her. He asks her why she wants to make money and how she’s doing at school. But he is well aware that his own livelihood hangs by a thread and he does not have the courage to warn Peipei before she is arrested. / 1Why did the director choose the topic between Hong Kong and Mainland China? Growing up in Shenzhen, the director was able to develop an unique perspective towards Hong Kong by dozens of her visits there. 2Is there a reference of the main character Peipei? In the morning from Monday to Friday, each week, over 30,000 children whose either or both parents are not Hong Kong residents, commuting between Shenzhen and Hong Kong to go to school in Hong Kong. They are the reference of the main character Peipei. 3What does “shuike” mean? Shuike, a person employed by smuggling group, travels frequently between Shenzhen and Hong Kong to earn some “service fees”. MAIN CREW / Bai Xue In 2007, the director graduated from the Beijing Film Academy with a B.A. in Directing. In 2012, she was admitted to the MFA of the Beijing Film Academy. In 2017, she participated in the 2nd CFDG China Youth Film Director Support Program (Young Shoots Program) sponsored by the China Film Directors Association and won the top five. In 2015, I made my decision to write a story about the cross- boundary children, those who have to commute between Shenzhen and Hong Kong every single day. In order to better understand their daily life, I made countless commuting trips between these two cities, wrote a thirty-thousand-word interview note, and also took hundreds of pictures and videos as part of my filmmaking approach. Because I firmly believe the nature of reality of the story is the sturdy foundation for its success. My film is actually talking about people with embarrassment. Peipei is one of them. They have family but no friend in Shenzhen and they study but have no home in Hong Kong. In fact, this kind of embarrassment has a certain degree of universality. Every immigrant from every city will face such problems. Although this is a youth film, it is not only about youth and growth. Peipei is the representative of such a special group of identity. Taking her as an entry point, she cuts deep in this era. She is the epitome of this era. // Tian Zhuangzhuang Director Filmography: On the Hunting Ground (1984), The Horse Thief (1986), Li Lian Ying,The Imperial Eunch (1991), The Blue Kite (1993), Springtime in a Small Town (2002), The Warrior And The Wolf (2009) / It is said that a filmmaker, or anyone working in the field of artistic creation, needs to have a few essential qualities: a unique perception of life and experience, talent and the right environment. The combination of these elements can create unique opportunities and the person that possesses them can become a good artist. Without one of those elements, he/she may simply wither away. The Crossing, directed by Bai Xue, shows that she has these elements. Life itself is something the director has experienced for herself over time, and the story of the main characters in the film woven by Bai Xue is the result of the director’s exhaustive interviews and research. She has a great instinct for film. She has not made films for ten years, but in that silent decade, she has gained a greater sense of her inner and outer worlds. These characteristics combined have all contributed to the birth of The Crossing and have made her into a true film director. /:A Piao Songri Majoring in Photography, he graduated from Beijing Film Academy with a bachelor degree. He had ten years of working experience in advertising photography. His works included Rider on Ghost Street, Detective Gui (2015), The Murder Game. / Cheung Siu Hong CHEUNG earned his MA in Fine Arts from Central St. Martins College of Art & Design, UAL. He has worked with acclaimed directors including Wong Kar Wai and Johnnie To as production designer and costume designer. Cheung's past work includes UNBEATABLE, THREE and MAD WORLD.
Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • Mainstream Cinema As a Tool for China's Soft Power
    Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78
    [Show full text]
  • IMAX China Holdings Soft Momentum After Avengers
    14 June 2018 Hong Kong EQUITIES IMAX China Holdings 1970 HK Neutral Soft momentum after Avengers Price (at 06:39, 13 Jun 2018 GMT) HK$27.60 Valuation HK$ 26.00-29.00 Key points - PER Downgrade to Neutral with TP lowered to HK$27.77 12-month target HK$ 27.77 We expect IMAX China’s BO growth to slow down after Avengers with its Upside/Downside % +0.6 network expansion peaking 12-month TSR % +1.8 We expect earnings to drop by 4% YoY in 2H18, with a 4% 18-20E CAGR Volatility Index High GICS sector Media Market cap HK$m 9,903 Event Market cap US$m 1,246 Downgrade to Neutral. IMAX China’s share price has rallied by 45% from the Free float % 32 trough earlier this year (vs +4% for HSI), on the good box office (BO) 30-day avg turnover US$m 5.1 performance of Avengers and strong 1Q. However, we expect the earnings Number shares on issue m 358.8 growth momentum going forward to inevitably slow down on the expected soft film slate and more importantly, the peaking of network installations. We expect Investment fundamentals its earnings to decline by 4% YoY in 2H18, after a +36% YoY in 1H18E, with a Year end 31 Dec 2017A 2018E 2019E 2020E Revenue m 126.5 138.6 146.9 150.7 4% 18-20E earnings CAGR. Downgrade to Neutral from Outperform. EBIT m 57.3 65.1 68.7 70.4 EBIT growth % 20.7 13.5 5.6 2.4 Impact Reported profit m 43.7 49.0 51.8 53.1 Softer momentum after Avengers.
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • Exceptional Marketing of “Monster Hunt 2” Brings in RMB 200 Million Presales
    Exceptional Marketing of “Monster Hunt 2” Brings in RMB 200 Million Presales Presented by Edko Films Hong Kong, “Monster Hunt 2” opened in Mainland China and Hong Kong on 16 February 2018 (the 1st day of Lunar New Year). The full-fledged promotion campaign included a worldwide premiere in a primetime special feature on 14 February (Lunar New Year's Eve) on Zhejiang Television, a television channel known for hosting variety shows and singing contests. Taiwanese pop band Mayday performed at the event. The lead cast of “Monster Hunt 2”, including Tony Leung and Li Yuchun, were celebrity guests invited to the big party game show. The night was filled with dancing, festivities and “Monster Hunt 2” previews. The first primetime television commercials following the signature CCTV annual New Year's Gala was that of “Monster Hunt 2”. Edko Films invested heavily in the marketing on the two television channels. Opened in 2016, “Monster Hunt” grossed a record-breaking RMB 2.438 billion. William Kong, Executive Director of Edko Films and the financer of “Monster Hunt”, found great confidence in filming a sequel with a bigger cast and crew, including A-lister Tony Leung. In addition to television, marketing events were plenty in other premises and on media platforms. Baby monster Wuba’s face was seen all over major shopping malls in Beijing, Shanghai and Guangzhou. Chinese New Year related merchandise, such as couplets and red envelopes, were distributed throughout. The auspicious and audacious marketing campaigns led to massive record-breaking success at box office with RMB 200 million at ticket presales in the history of Chinese cinema.
    [Show full text]
  • Academy Invites 842 to Membership
    MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The
    [Show full text]
  • Buy Wanda Film
    2 March 2018 Hotels / Leisure / Gaming Wanda Film Deutsche Bank Markets Research Rating Company Date Buy Wanda Film 2 March 2018 Company Update Asia China Reuters Bloomberg Exchange Ticker Price at 3 Jul 2017 (CNY) 52.04 Consumer 002739.SZ 002739 CH SHZ 002739 Price target - 12mth (CNY) 74.00 Hotels / Leisure / Gaming 52-week range (CNY) 60.15 - 50.97 Shenzhen Index 1,918 2017 profit miss, cutting PT to RMB74; Solid 2M18 box office results - Buy Valuation & Risks Tallan Zhou 2017 preliminary earnings miss consensus; maintain Buy on revenue mix change and 2018E box office growth Research Analyst Wanda Film’s 2017 top/bottom-line missed consensus by 8%/15%, based on its +852-2203 6464 preliminary results. We believe the miss on profit is due to the lower margin result from its aggressive new cinema openings (1,000 new movie screens added Karen Tang in 2017). Therefore, we roll over and cut our 2018/2019 earnings forecasts by Research Analyst 13% /13% to reflect this. Given that 1) its continued revenue mix change and +852-2203 6141 2) our 2018E China box office growth forecast of 14-16%, we maintain Buy on Wanda Film with a new TP of RMB74. Key changes TP 86.00 to 74.00 ↓ -14.0% Sales (FYE) 17,722 to ↓ -8.8% Revenue mix change may continue in 2018E 16,165 Revenue from non-box office was RMB5.1bn in 2017, yoy growth of 31%. Op prof margin 21.0 to 20.7 ↓ -1.3% Wanda’s non-box office revenue as percentage has increased to 39% from 32% (FYE) in 2016.
    [Show full text]
  • The Development of the Chinese Film Industry in 2018
    8 The development of the Chinese film industry in 2018 Shuzhen Sun The year 2018 was the 40th anniversary of China’s Reform and Open Door policy. In light of the new era and spirit of the 19th Party Congress of China, 2018 was the first year for the Chinese film industry to thoroughly incorp- orate the socialist ideology with Chinese characteristics into its filmmaking practice. This is the key to implementing the 13th Five- Year Plan to achieve an overall prosperous society. The year of 2018 was also the beginning of the unified management of film work by the Central Publicity Department. To standardize and support the development of the film industry, the Central Committee of the Party and the State Council successively issued a series of film industry policies and measures in 2018. Along with an improvement in the audience’s consumption level and the change of the consumption con- cept, the broad market and good consumption foundation further contributed to the development of the quality and quantity of Chinese film productions (Table 8.1). Analysis of the environment of China’s film industry in 2018 The policy environment of the Chinese film industry In 2018, the Chinese film industry reform continued. The Notice on Further Regulating the Taxation Order of the Film and Television Industry, and the Opinions on Accelerating the Construction of Cinemas to Promote the Prosperity and Development of the Film Market and other film policies and regulations were introduced, one after another, resulting in the swift develop- ment of the film industry in China.
    [Show full text]
  • Negotiating Transnational Collaborations with the Chinese Film Industry
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019.
    [Show full text]
  • Investor Presentation August 2018 Disclaimer This Document Is Not Intended to Form the Basis of Any Investment Decision in Connection with IMAX China Holding, Inc
    Investor Presentation August 2018 Disclaimer This document is not intended to form the basis of any investment decision in connection with IMAX China Holding, Inc. (the "Company", together with its subsidiaries, hereinafter referred to as the "Group"). It does not constitute an offer or invitation to sell, or any solicitation of any offer to subscribe for or purchase any securities, in any jurisdiction including but not limited to a jurisdiction in which the making of such offer, invitation, solicitation or sale would be unlawful prior to registration or qualification under the securities laws of such jurisdiction or would not otherwise be in compliance with the laws and regulations of such jurisdiction. Nothing contained in this document shall form the basis of any investment decision, contract or commitment whatsoever. The information in this document has been provided by the Company solely for your information. This document does not purport to be comprehensive or to contain all the information that a recipient may need in order to evaluate the Company and/or any of its subsidiaries. Certain factual or predictive statements in this document are derived from external sources and have not been independently verified by the Company. No representation or warranty, express or implied, is given, and so far as is permitted by law and except in the case of fraud, no responsibility or liability (in connection with negligence or otherwise) is accepted by any person or entity (for the avoidance of doubt, including but not limited to, any Group member or any of its directors, officers, employees, affiliates, advisers or representatives), with respect to the accuracy, reliability, truthfulness, fairness or completeness of this document or any of its contents or any oral or written communication in connection with any content contained in this document.
    [Show full text]
  • Marché Du Film2019
    MARCHÉ DU FILM 2019 FOCUS WORLD FILM MARKET TRENDS TENDANCES DU MARCHÉ MONDIAL DU FILM Observatoire européen de l’audiovisuel European Audiovisual Observatory Europäische Audiovisuelle Informationsstelle MARCHÉ DU FILM LOVES FESTIVALS MARCHÉ DU FILM OPENING NIGHT - 15 May Shanghai International Film Festival DOC TALKS & DOC DAY - 17 to 21 May CPH:DOX, DOK Leipzig, IDFA, Visions du Réel, Doc Alliance FRONTIERES PLATFORM - 18 & 19 May Fantasia International Film Festival GOES TO CANNES - 18 to 20 May Annecy, HAF (Hong Kong), Los Cabos, Málaga, New Horizons’ (Poland), Thessaloniki FANTASTIC 7 - 19 May Bucheon, Cairo, Guadalajara, Macao, Sitges, SXSW, Toronto MIXER FESTIVALS - 22 May Film Freeway CINANDO AWARDS - 22 May Best Emerging Festival Programmer and more than 1300 registered programmers attending! www.marchedufi lm.com/en/global-events ©Alexandra Fleurantin / Marché du Film MDFlovesFESTIVALS_MDF2019-155x240_AUTOPUB.indd 1 26/04/2019 15:50 focus 2019 World Film Market Trends Tendances du marché mondial du film Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 ISSN: 1962-4530 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Imprimé sur papier labelisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. Printed on paper from sustainably managed forests. 2 Editors Martin Kanzler ([email protected]) Patrizia Simone ([email protected]) Film Analysts, Department for Market Information, European
    [Show full text]
  • Imax Enjoys Record-Shattering Opening at Chinese Box Office During Chinese New Year
    IMAX ENJOYS RECORD-SHATTERING OPENING AT CHINESE BOX OFFICE DURING CHINESE NEW YEAR IMAX® Releases of Detective China Town 2, Monster Hunt 2 and Operation Red Sea Generate Combined Four-Day Box Office of ¥112 Million (US$18 Million) LOS ANGELES and SHANGHAI – Feb. 20, 2018 – IMAX Corporation (NYSE: IMAX) and IMAX China (HKSE: 1970) today announced that IMAX reported record-shattering opening box office during the Chinese New Year. Driven by the strong performance of three IMAX local-language films – Detective China Town 2, Monster Hunt 2 and Operation Red Sea – IMAX grossed ¥112 million (US$18 million) over the four-day period starting Feb. 16 across IMAX® theatres in China. This marked IMAX China’s best Chinese New Year four-day performance ever, and represents a 60 percent increase in the box office over the same holiday period in 2017. IMAX theatres earned ¥40million (US$6.4 million) on Feb. 16, marking the best-ever opening day, single day and highest Chinese New Year opening day for IMAX in China. Detective China Town 2, Monster Hunt 2 and Operation Red Sea represented the top three films in China over the four-day period, with the films trading the top spot throughout the period. IMAX theatres represented 83 out of the top 100 locations for 2018 Chinese New Year weekend. “We’d like to extend our sincere congratulations to our long-time partners and friends at Wanda Pictures, Edko Film and Bona Film on their successful openings,” said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment.
    [Show full text]