China threatens to block the import of US films in response to the new duties imposed by Trump. A potentially devastating blow to Hollywood, who risks losing his second world market
Commercial tensions between the United States and China do not even spare the big screen. In a statement released in response to the invitation of US commercial policies, the China Film Administration he announced he wanted “Moderately reduce the volume of the imports of US films”stating that “Adhering to the principles of the market and respect the preferences of the public”. The agency criticized the “Wrong practice” of the American government to impose “Excessive duties” on Chinese goods, underlining that these measures “The favorable perception of the Chinese public will probably decrease towards the US films”. The stance comes a few days after the administration Trump raised customs rates on Chinese imports first to 104% and then 125%.
A reprisal that could cost billions to Hollywood, given the growing importance of the Chinese market, today second only to the USA for cinematographic collections.
China’s weight for Hollywood
In recent years, China has imposed itself as a leading actor in the global cinema market. According to industry data, The dragon today represents the second film market in the world for collection volumeby heeling the United States and, in some periods of the year, also overcoming them. For Hollywood, it is a fundamental commercial showcase, often decisive for the success – or the failure – of an international blockbuster.
It is no coincidence that large American majors have gradually adapted their production strategies to conquer the Chinese public. Some emblematic examples: the insertion of local actors in western films (such as fan bingbing in Iron Man 3), scenes shot in Chinese locations, and even “extensive” versions of the films designed exclusively for the Asian market. The message is clear: you can no longer do global cinema without going through Beijing.
Movies like Avengers: endgame they collected beyond 600 million dollars only in Chinacontributing decisively to their global success. Last year, Godzilla X Kong: The New Empire He has collected more than $ 130 million in the Chinese market alone. And also very recent productions such as A Minecraft Movie They recorded very solid debuts, with 14.5 million in just two days, equal to over 10% of the world’s world collections. And again, movies like The Fate of the Furious They collected more money in China than in their home market. A reverse of course that has radically changed the economic geography of cinema.
The consequences of a block
The eventuality of a strait on the import of US films would represent a nightmare for the Hollywood industry. Not only for the direct loss of the collections, but for the chain effect that could overwhelm the entire production system.
A partial block would mean drastically reducing the profit margins for cinema giants, especially for those very high budget films that count on the global market to return expenses. If a 200 million dollar production cannot access one of the most profitable markets on the planet, it risks becoming a Investment to very high risk.
The majors, already struggling with the growing competition of the streaming platforms, would see one of the few spaces in which they still manage to “bang” at the box office. To pay the highest price would be those securities designed for a massive international distributionwith simplified scripts and universal appeal: the classic Hollywood export produced.
It should then be remembered that foreign films, in China, are already subjected to a rigid selection: They can only arrive in the country through two state enterprises, and only 34 films per year are allowed with the recesses distribution formula (of which the majors retain about 25%). The other films must be satisfied with a fixed sum in exchange for rights, without participation in profits. A form of cultural protectionism that today Beijing could stiffen further.
China towards cultural self -sufficiency
Behind commercial threats there is also a wider political and cultural design. For some time, China has been working to strengthen its internal film industry, with the aim of becoming not only a great consumer of film, but also a powerful manufacturer of cultural content. The logic is twofold: to reduce dependence on abroad and promote a narrative that reflects the country’s values and ambitions.
The Chinese Communist Party has massively invested in production studies, special effects and the formation of new talents. Patriotic films like The Battle at Lake Changjin or Wolf Warrior 2 They broke the national box office, showing that the Chinese public is ready (and perhaps also encouraged) to choose local productions.
In this scenario, the “boycott” of American films would not only be a punitive move, but also a lever to accelerate a process already underway: the construction of an alternative soft power, capable of contrasting western cultural hegemony. In other words, less Avengers And more Chinese heroes on the big screen.
