Chinese New Year Box Office: Han Han, Zhang Yimou & Record Sales 2024

The Chinese box office is off to a strong start in February 2026, with total takings exceeding 4 billion yuan (approximately $558 million USD) during the early days of the Spring Festival period. This marks a continuation of the upward trend observed in recent years, signaling a robust appetite for domestic films among Chinese audiences.

Leading the charge is a new installment in the popular Pegasus racing film series, Pegasus 2, directed by Han Han. The sequel has already grossed 2.4 billion yuan, solidifying its position as the second highest-grossing film of the festival so far. The original Pegasus, released in 2019, proved to be a significant box office success, and this follow-up is clearly resonating with audiences.

The animated franchise Boonie Bears continues to perform exceptionally well with its latest offering, Boonie Bears: Time Twist. The film has earned 1.39 billion yuan, securing the third spot at the box office. The enduring popularity of the Boonie Bears series demonstrates the strength of domestically produced animation in the Chinese market.

Zhang Yimou, a celebrated figure in Chinese cinema, also contributes to the festival’s success with his film, Article 20, which has taken in 1.33 billion yuan. Zhang Yimou’s involvement consistently draws attention and critical acclaim, and Article 20 is no exception.

However, the biggest box office draw this year is YOLO, a comedy starring Jia Ling, which has earned an impressive 2.72 billion yuan. The film’s success is partially attributed to the significant weight loss undertaken by Jia Ling – reportedly 50 kilograms – in preparation for her role. This personal story has captured the public’s imagination and translated into substantial ticket sales.

Despite the overall positive performance, the Spring Festival period hasn’t been without its challenges. Reports indicate that several films, a total of four out of the initial eight released on the first day of the Year of the Dragon, have temporarily suspended screenings, citing a desire to resume at a more opportune time. This suggests a degree of volatility in the market and the importance of careful timing for releases.

Interestingly, a significant portion of the box office revenue – 58.9 percent – is being generated in third- and fourth-tier cities, the highest percentage in five years. This indicates a broadening of the film-going audience beyond major metropolitan areas and a growing demand for entertainment in smaller cities. A substantial 39.2 percent of moviegoers are purchasing tickets while traveling or returning to their hometowns, the highest figure in the past four years, highlighting the role of the Spring Festival holiday in driving cinema attendance.

The absence of major Hollywood or Hong Kong productions continues to be a notable trend. While The Movie Emperor, starring Andy Lau, initially entered the market, it was withdrawn due to unsatisfactory viewership. This reinforces the dominance of domestic films during this key period and suggests a preference among Chinese audiences for locally produced content.

The success of these films, particularly YOLO, Pegasus 2, Boonie Bears: Time Twist, and Article 20, demonstrates the strength and diversity of the Chinese film industry. The Spring Festival period remains a crucial window for releases, and the current box office numbers suggest a continued positive trajectory for Chinese cinema. The focus on domestic productions, coupled with the growing importance of smaller cities, points to a dynamic and evolving market.

reports indicate that actor Jackie Chan and other film stars are planning promotional roadshows in cities like Chengdu, further boosting visibility and engagement with audiences. The film Her Story has also been released online, offering an alternative viewing option for audiences.