Chinese productions have dominated the market for 2025, making up about 90% of all ticket sales, but Chinese films have also been doing remarkably well on foreign screens too. Here are a few of the big hits:  

Ne Zha 2  (哪吒之魔童闹海)

A children’s animation based on the life of the mythical Chinese being. This sequel to 2019’s Ne Zha has been massively successful, quickly becoming the highest-grossing animated film ever, surpassing even Pixar and Disney’s records. 

Global box office takings: US $2.2 billion 

Detective Chinatown 1900 (唐探1900)

This murder mystery is the fourth installment of the Detective Chinatown series. It follows protagonists Qin Fu and Ah Gui’s investigation of a murder in San Fransico’s Chinatown. 

Global box office takings: USD $471.5 million 

Dead to Rights (南京照相馆)

A historical drama about the 1937 Nanjing Massacre.  

Global box office takings: US $372 million 

Numbers like these are exciting for China, a country that’s traditionally struggled to garner wide-spread engagement with its cultural exports on the global stage. But the Chinese film industry still has a long way to go. The lion’s share of these grand numbers – over 99% in Ne Zha 2’s case – were made from ticket sales on Chinese screens.  

Domestically these numbers are being boosted by active campaigns to develop a ‘ticket-stub economy.’ This is the type of high-grade consumerism that sees ticket stubs from cultural activities like sports events or cinema trips being used to grab deals and redeem discounts.  

This year, the National Film Administration and China Media Group jointly launched the China Film Consumption Year. This is essentially a multi-institutional push to leverage the spending power of cinemas in boosting consumption. The ticket-stub economy was a stated part of this initiative. The goal is ultimately to pump a bit of momentum into the Chinese economy. For Chinese cinemas and cinemagoers, it means cheaper tickets, more promotional tie-ins, and a good reason to feast their eyes on the silver screen.  

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As part of its “crazy” new school year campaign, KFC is collaborating with the film to bring some of its iconic characters to life as toys. Since Havoc in Heaven is such a timeless classic, the marketing of the co-branded toys is also directed at two different generations: students and young professionals.

On one hand, some of the toys are framed as workplace memes, such as the meeting-loving boss, the absent-minded co-worker, or the lunch-loving Monkey King. On the other hand, the campaign appeals to students with endless homework or teachers who love random quizzes.

This collab is an inspired case of global brands localising in China, because it not only takes ideas from traditional culture (Monkey King and company), but it is also an established IP that appeals to multiple generations. Most importantly, KFC combined that with its own “Crazy Thursday” abstract humour memes to create two resonating messages with Monkey King for different audiences.

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The brand takes on the concept of the “Hangzhou Leno” (杭罗, hangluo) weaving technique, an ancient silk craft originating in Hangzhou. The branch is located in the historical site of the Zhang Yunsheng Department Store, the first department store in Hangzhou. The store was founded over 200 years ago, but the building was built in 1926, making it nearly 100 years old. Designed in a Western style, it perfectly encapsulates Starbucks’s image. Hangzhou Leno fabric would have been sold there back in the day.

For the concept store, Starbucks recruited Hangzhou Leno weaving technique inheritor, Hong Guizhen (洪桂珍) and Her Fuxing Leno (福兴杭罗) team, and partnered with young Chinese artists to create 3 textile art installations. It also includes a hybrid craft, inviting the Bai tie dye inheritor to dye Hangzhou Leno with the technique. Not only are the craftsmanship and texture of the fabric displayed, but the store also invites visitors to learn more about this traditional craft’s contemporary spin.

With exclusive drinks inspired by Hangzhou’s tea culture and matcha, as well as exclusive sleeves and paper bags, Starbucks takes hyper-localisation seriously. Not only did Starbucks create an artistic “third space” as a Reserve branch, but the regional intangible cultural heritage also brings the international brand closer to locals while attracting travellers.

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The installation, as the title suggests, features four life-sized panda statues, all dressed in Adidas Originals tracksuits and t-shirts with the iconic three stripes. The pandas strike various poses, from holding a bouquet to sitting on a bench, and even breakdancing at the bus stop. A one-storey high statue is also included. It stands just in front of the bus stop, on top of a blue shoebox, donning the viral red “中国” (Zhongguo, China) tracksuit. The size difference and the distance between the large panda and the bus stop are reminiscent of the iconic bus stop scene from the film My Neighbour Totoro (1988).

Of course, the offline “check-in” (打卡) spot was part of the campaign for the collaborative collection between Adidas Originals and Dorothy Tang. From Panda graphic t-shirts to hats and patches, the collection brings Tang’s anthropomorphic panda into all sorts of garments and accessories. It was first launched in Chengdu and, as of 3 August, has been made available nationwide.

Similarly, as part of the promotion, the installation is also set to travel across China later this year. Adidas and Adidas Originals have been doubling down on creating localised collections, from the aforementioned “zhongguo” tracksuit to the Tsinghua University collaboration. The brand recently launched its 2025 A.C.E intern programme focused on Chinese aesthetics, further leveraging the new wave of “guochao” (国潮, “China trend”).

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For the launch, Land Rover teamed up with the China edition of the global fashion and culture magazine ‘Another Man’ on a campaign that brings together the musical elements and cool factor of the “Brit Sound”. The magazine also collaborated with Chinese rock band ‘New Pants’ to produce a music video/advert, in which the band’s “Sad Punk” character, dressed in a costume, chases the car as it’s driven by the band.

As part of the launch, Land Rover sponsored the viral Another Man 1st anniversary party, where celebrities and indie musicians rubbed shoulders. Not only did influencers take photos with the “Brit Sound” limited-edition SUVs at the event, but musical guests also performed with the vehicles on stage. Another Man also hosted a photoshoot featuring additional musicians and bands with the car, including rock bands such as Young Dan (回春丹), Berlin Psycho Nurse (柏林护士) and Queen Sea Big Shark (后海大鲨鱼).

On Weibo, China’s Twitter-like platform, the topic is based on the limited model’s tagline, “listen to yourself, you can do it (purple)” (#听自己的紫定行#), which reached number 16 on the Hot Search list with 54.15 million views. The hashtag uses a pun by replacing “指” from “指定” (zhi ding, definitely) with “紫” (zi, purple) to emphasise both the free spirit of “Brit Sound” and the colourway.

With the current EV boom in China, luxury cars have a tough year ahead. On 20 July, Land Rover announced that it would subsidise the new value-added tax on luxury cars for anyone who purchases a Range Rover or Defender between 20 and 31 July. The new limited-edition Land Rover campaign is also a move by the brand to bring back the desirability of its vehicles and better compete with EVs, especially domestic brands.

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If you think the backlash was about the “Heil Hitler” or “WW3” messaging, you’d be wrong. It was mostly due to Ye’s lateness to the stage and the early finish, as there were reports that the venue played the two controversial tracks after the rapper had taken his final bow. The China concert was plagued by a rainstorm that, according to the official Rednote account of Ye, caused a malfunction in the equipment, leading him to start late and interrupt the show three times before concluding. The venue’s playing of the tracks was unauthorised, and Ye had no knowledge of it. He reiterates that he loves China and his fans there.

• #侃爷上海演唱会嫌雨太大提前退场 Kanye leaves early at Shanghai concert because of rain: 120 million views on Weibo, ranking number 1 on the Hot Search list
• #侃爷发文感谢中国粉丝 Kanye thanks Chinese fans online: 37.58 million views on Weibo, ranking number 2 on the Hot Search list

However, netizens and media outlets were left unimpressed with his explanation and gratitude. Aside from Ye being over 40 minutes late for the Shanghai concert, they also complained about the shoddy stage design, muffled sound system, and playback at the end. Many are discussing a refund, amplified by calls from state-owned media accounts. Unprofessionalism and hubris toward fans are commonly mentioned. It is, however, a consistent position, as the Haikou “listening experience” was praised for its bold stage design and ample live performance for a “listening party”. Value, it seems, is still the top priority, even in the entertainment business.

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Netizens, however, are less than impressed. Many note that the low marriage rate is not caused by the lack of registration points. Some joked that if the strategy is to rely on “impulse buy” to boost marriages, then they might as well try outside universities or move it online so you can register for marriage like internet banking.

• #多地音乐节可在现场领证结婚 You can register for marriage at music festivals at multiple places in China: 28.66 million views on Weibo, ranking number 9 on the Hot Search list

The change came after China eased its marriage registration process in May. The simplified paperwork eliminated the need for the household registration book (户口本) and removed the requirement to return to one party’s household registration location. The added flexibility means couples can now get married anywhere civil affairs teams are present. China is scrambling to rally marriage and birth rates, with data from the national Ministry of Civil Affairs showing that only 6.11 million couples got married in 2024, a 20% drop from the previous year. Whether the “Vegas-esque” registration push will help still needs to be monitored.

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Nowadays, with the high-pressure and fast pace of city life, the “sense of ceremony” is becoming harder to achieve. Young people are now aiming for a “lighter” type of life which might mean breaking down their workout into smaller, easier-to-operate parts instead of a dedicated run or gym session. Young people in China are minimising travel, instead opting for shorter journeys by going to the outskirts of the city for hiking, biking or foraging instead of travelling too far. Even socialising has become “we got to know each other means we’ve socialised”. Less commitment, less performative interaction, just enough for your social needs.

But it doesn’t mean we don’t want the sense of ritual. One would argue that it makes it even more sacred than before. We can find the sense of ritual in smaller amounts, meaning the “gap day” and 20 minutes in the park are not lacking in ritualistic value, but are bite-sized blocks in our lives. This will also make those significant rituals, such as anniversaries or traditional festivals, even more solemn.

I often wonder if the “sense of ritual” can be traced back to anthropologist Victor Turner (1920-1983), who viewed rituals as liminal experiences: transitional stages that temporarily suspend the normal social order. Perhaps this is why the sense of ritual appeals to those who feel trapped in the banality of daily work and life. Rather than disappearing, it has simply adapted to the current environment and will remain as long as Chinese consumers continue to seek “emotional value.

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For about 3 weeks, the building complex “walked” with a speed of 10 metres per day. The 4,000 square metre Huayan Li building, weighing 7,500 tons, was transported by 432 small robots positioned within 10 square metres of each other.

• #432个机器人搬运7500吨石库门建筑群 432 robots moved 7,500 Shikumen complex: 4.84 million views on Weibo, ranking number 32 on the Social list 

Since 2018, Shanghai has not only been preserving Zhangyuan, including Huayan Li, but has also developed the underground space underneath the complex. This includes a new Metro interchange connecting three lines nearby (which was an out-of-station interchange before), and more than 300 parking spaces to support Zhangyuan’s transformation into a shopping complex and tourist destination. Not only is this a high-tech architectural feat, involving the relocation and return of the complex, but it is also a great example of a city preserving its historical buildings.

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Kasing Lung, the creator behind the MONSTERS IP Franchise and its main character LABUBU, was born in Hong Kong in 1972 and moved to the Netherlands when he was 6. Lung’s work took inspiration from Nordic fairies, and he has been publishing his illustrated books and releasing collectible figurines since 2011. He created THE MONSTERS in 2014 but it wasn’t until Wang Ning, founder and CEO of POP MART spotted his potential and signed THE MONSTERS to the label in 2018 that his work finally found its way to the masses.

• No. 1 on Weibo’s Hot Search list with 58.97 million views: #Labubu设计师曾失意30年, #LABUBU designer’s 30-year frustration

However, some netizens didn’t share the sentiment that working hard before his big break was a true 30-year frustration, as Kasing Lung wasn’t in debt or in more trouble than other working artists before his big break with LABUBU. The comment section is also split between those “addicted to” or interested in the toy and those who simply don’t understand the hype. It appears that the IP and its creator’s meteoric rise have confused and divided people online. However, despite POP MART’s high revenue, certain pundits warn of a bubble forming from the surge in investor expectations.

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