A couple months ago I was asked to write this brief overview of the state of contemporary Chinese language cinema for the Estonian arts magazine Sirp. You can read this essay in Estonian on their website, and here, with their kind permission, is the original English language version.

Long one of the most vibrant and diverse film cultures in the world, the landscape of Chinese-language film has shifted dramatically over the last few years. Beginning with the handover of Hong Kong to Mainland China in 1997, the previously separate industries in China, Taiwan and Hong Kong have become increasingly enmeshed, and with the rapid expansion of theatrical exhibition on the mainland and an economic boom that has opened up a massive potential audience, China is set to overtake the United States as the largest movie market in the world. Chinese companies have begun investing heavily in Hollywood productions, while American companies are seeking closer ties with their Chinese counterparts. A Chinese company (Wanda) now owns the largest chain of exhibitors in the US (AMC Theatres), as well as an American production company (in January of 2016 they purchased Legendary Entertainment, producers or co-producers of Jurassic World, Blackhat, Pacific Rim and Christopher Nolan’s Batman films, among other blockbusters). Warner Brothers recently launched a new production house in cooperation with Chinese company CMC to remake Warners properties like Miss Congeniality, and release original films from veteran Hong Kong filmmakers Peter Chan and Stephen Fung along with Jackie Chan and Brett Ratner. CMC also has a joint venture with Dreamworks Animation, Oriental Dreamworks, which released Kung Fu Panda 3 this past January. Complicating this vast influx of cash into film production is China’s oft-arcane system of censorship and import quotas, which limit the kinds of films that can be shown in the nation’s theatres, as well as a tradition of gaming the system, if not outright corruption, in box office accounting. In the past few weeks, widespread fraud in the reporting of the grosses of Donnie Yen’s Ip Man 3 was discovered, leading to punitive action against the film’s local distributor and participating exhibitors.

With this dynamic and rapidly developing film culture, trying to predict what Chinese-language cinema is going to be like in five or ten years is a fool’s game. Instead, by taking a snapshot look at a few examples from the past year, we can get a sense of where the culture is at right now. From The Mermaid’s astounding box office success, to Go Away Mr. Tumor’s unique disregard for generic expectations; from Jia Zhangke’s idiosyncratic move toward the mainstream of the international art house with Mountains May Depart, to Bi Gan’s microbudgeted, experimental and defiantly local debut Kaili Blues, Chinese cinema is one of the most financially lucrative and aesthetically innovative cinemas in the world.

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