What the film is facing today is not the rise or fall of a single year, but how to live better after staying away from the peak.
The movie seems to have taken on some new twists this year.
The Hollywood strike in North America is bound to be written into the history of the film, which is not only a battle of rights, but actually a revolutionary collision between the entire creative industry and streaming media and AIGC. In this context, Hollywood's super British blockbusters this year are no longer strong, and the three highest-grossing films in the world belong to "Barbie", "Super Mario the Movie" and last year's "Avatar 2".
Supporting Hollywood to play all over the world's super British blockbuster seems to usher in a historic node, the next "global blockbuster" will usher in changes, in fact, is the focus of the global film industry should pay attention to.
Looking at the country, Zhang Yimou's "Man Jiang Hong" defeated the current first Chinese IP "Wandering Earth 2" in the Spring Festival file, but before 2023, "ancient costume blockbuster is dead" seems to be the industry consensus. Summer "She disappeared", "Octagonal cage", "Chang 'an thirty thousand Miles", "All or Nothing" take turns bombing, but the summer is more like "evil fire", gender topics, ahead of the point, the focus of the national anti-electricity fraud and Tang poetry "parenting", are unpredictable "explosion point" and difficult to replicate.
At the end of the year, when the "snow field" of "Twinkle, Twinkle Star" frequently swept the screen, "Taylor Swift: The Times Tour" followed, turning the movie theater into a KTV.
Looking back at the film market in 2023, it's hard to conclude anything. Because good, unpredictable; Bad, caught off guard. The global consensus about the future is how to get back to the top. But for now, talking about where movies are going is actually a more realistic dilemma.
2023 is Hollywood's Halftime war
Hollywood's "historic year," one ring at a time.
This is an awkward and critical year for Hollywood. On the one hand, Hollywood's high hopes for British blockbusters in the past few years have been weak; On the other hand, the deeper streaming battle behind the strike may not have entered the "core theater."
It also grossed $1.154 billion worldwide. Five years later, the same is the New Year file, "Sea King 2" even in the one-day box office output less than the re-release of "Your wedding", the mainland box office may be more than 300 million, and the current global box office is also embarrassing and "disrespectful".
The "significance" of this blockbuster costing more than $200 million is not only the last super British film in 2023, Aquaman 2 is also the last one in the DCEU universe. Next up, the DC Cinematic Universe will reboot.
On the other hand, Disney CEO Bob Iger also made a "reflection" on the film.
"After I left as CEO and chairman of Disney, things got worse, and people forgot what we were working for in the first place. The answer is entertainment comes first, our purpose is to make the audience happy, and if we attach some good value to it, that's good, but that's not the focus of our work, and almost everyone gets lost."
Reflection is reflection, restart is restart, but Hollywood can only stick to the scalp and continue to hold the super British film in the palm of your hand. This is the safest choice in terms of business logic. On the other hand, there is no doubt that IP is still the source of film.
But for the audience who have seen more than English films, in the face of routine script creation and mediocre audiovisual experience, whether the audience can be firmly held in the cinema again is a new topic.
On the industry side, the top four highest-grossing films in the world this year do not appear to be Hollywood "protagonists." In particular, Nolan's "Oppenheimer" sold 955 million yuan at the global box office, outweighing "Guardians of the Galaxy Vol. 3", "Spider-Man: The Universe" and "Fast and Furious 10", which made Hollywood begin to reflect on the definition of "blockbuster".
Although Nolan is the "pioneer of the era" of anti-streaming media, Netflix has been fighting for such a famous director as Nolan early on. And Martin Scorsese, David Finch, Spielberg such "big directors" early embrace streaming media, "more money and less words" streaming media platform does give the famous director more creative freedom.
And Greta Gerwig, director of this year's global box office champ Barbie, has signed on with Netflix and will next remake The Chronicles of Narnia.
Super British movies and visual blockbusters are still the absolute foundation that Hollywood cannot shake, which will inevitably "force" a large number of directors to embrace streaming media, and in essence, traditional Hollywood also builds its own streaming media to counter the impact of streaming media platforms.
Therefore, in this context to see the historic Hollywood strike, although the final outcome is "happy", but the impact of streaming media on traditional films has entered the "industry stage". It is no longer the audience advanced cinema or direct online viewing "channel contention", but about talent, resources, film types of deeper industrial competition.
Imagine the future of the UK blockbuster is still weak, the popcorn series is still old-fashioned, and the director who can really tell the story and the streaming media tightly embrace, what kind of shock will be ushered in the global film, is a "ultimate question" that has no answer.
