IMAX goes up to China with box office figures from 106% from one year to the next until May, considerably exceeding the overall growth of 27% in the Chinese exposure industry.
The Premium format now controls a record share of 5.3% of the Chinese box office, reporting an unprecedented audience appetite for the IMAX experience.
In an exclusive interview at the Shanghai International Film Festival, IMAX CEO Rich Gelfond revealed that three major Chinese productions filmed with IMAX cameras take place to dominate the summer slate. “Made in Yiwu” (July 5) marks the second IMAX collaboration of director Rao Xiaozhi after the “home”. The film represents the growing trend of Chinese filmmakers embracing camera technology owner of IMAX.
“Dongji Rescue” (August 8) sees director Guan Hu returning to Imax after his war epic “The Eight Hundred”, which generated 3.1 billion RMB (431.7 million dollars) at the Chinese box office. Gelfond says that the visual scale of the film and the scope are ideal for the IMAX experience.
“To Writer’s Odyssey 2” (August) brings back the director Lu Yang for the continuation of the success of RMB of 1 billion RMB ($ 139.2 million). “We did very well with the first,” explains Gelfond, expressing his confidence in the IMAX call of the established franchise.
Unlike speculation on trade tensions affecting the distribution of films during the pricing wars initiated by US President Donald Trump, Gelfond confirmed that each Hollywoodian expected title has obtained Chinese liberation. “This year, every film we expected to make has entered,” he says. “It is very good that usually, especially in this environment, where we seem to get closer and closer with China in terms of more stable situation. I really don’t think the Chinese film market will be affected by prices.”
The coming versions Hollywood Imax include the highly anticipated film “F1”, which generated an important buzz during an closed -looking preview event with Shanghai Media Group. “We did it in six theaters and gave tickets to see him, but he was exhausted very quickly,” said Gelfond.
The summer and fall list also presents “Superman”, “Jurassic World: Rebirth” and “The Fantastic Four: First Steps” by Marvel, with “Avatar: Fire and Ash” positioned as a big Christmas version. Gelfond highlights the “wonderful color palette” of the new film “Avatar” and the original visual approach.
The success flows partly from IMAX’s strategic emphasis on “filmed for Imax” productions. “Our experiences when you film with IMAX cameras, you tend to better index or make a better percentage of the box office,” explains Gelfond. This year will show off between five and seven Chinese films shot with IMAX cameras, alongside 11 Hollywood titles using technology.
Daniel Manwaring, CEO of Imax China, played a decisive role in the establishment of relations within the Chinese cinema community. Its deep industry connections and its fluid Mandarin have helped stimulate the adoption of IMAX technology among local producers.
Looking beyond Asia, IMAX works to extend international distribution for successful Chinese films. The company has facilitated global outings for Japanese productions such as “Demon Slayer” and has helped secure International Theatrical IMAX outings for superproductions such as “NE ZHA 2”.
“We actually think that this is a decent opportunity for us in the future,” said Gelfond about the strategy to provide local linguistic films successful to the IMAX public worldwide.
With “Mission: Impossible – The Final Reckoning” capturing 18.5% of its total Chinese box office through IMAX screens and acute anticipation for the world tube “Sinners”, which also plays at the Shanghai International Film Festival, Gelfond remains optimistic about the trajectory of the market.
“I think we are about to participate in a fairly strong game of the season for us,” he concludes, citing both the robust Pipeline Hollywood and the unprecedented number of Chinese productions embracing the immersive format of Imax.
The combination of local language shows and Hollywood tents positions IMAX for continuous growth of what Gelfond describes as an increasingly “robust” Chinese market. The business growth strategy includes a major extension with the Wanda Film Holding Co. exhibition partner, the largest Chinese cinema exhibitor, which plans to upgrade 27 premium format screens to the largest Imax high technology facilities.
