On November 13th, during the 2025 China Golden Rooster and Hundred Flowers Film Festival, a Golden Rooster Domestic Film Exchange Conference was held in Xiamen. The event, themed "Film Breakthrough in the Algorithm Era," saw Maoyan Research Institute release its domestic film market observation report. Representatives and key creators from several film companies, including Yitong Productions, Emperor Motion Pictures, Qianwanjian Animation, and Matt Pictures, participated in the discussions.
Group photo of the attendees
In the era of algorithms, audience behavior and algorithmic logic are jointly shaping new film distribution paths. How should creators and distribution teams adapt to this trend and break through its limitations? Liu Peng, Dean of Maoyan Research Institute, pointed out in his keynote speech that the Chinese film market is currently undergoing profound changes: "Overall, the market is showing signs of recovery, but the supply structure and audience composition have undergone significant changes. The age structure of the audience continues to shift upward, and young audiences' entertainment methods are becoming increasingly diverse, leading to fierce competition between film and other forms of entertainment as an offline form of entertainment."
Liu Peng, Dean of Maoyan Research Institute
Liu Peng also mentioned that pre-release buzz for films is currently declining, making word-of-mouth a key factor influencing market performance. He also believes that while algorithms bring precise targeting, they can also easily lead to information silos and marketing homogenization, and the industry urgently needs to adapt its content creation and promotion strategies accordingly.
Qian Chongyuan, the chief producer of Yitong Productions, shared the core concept of talent and innovation as the driving forces, emphasizing that producers need to have rational thinking, overall planning ability and artistic judgment, and form a positive complement to the authorship of directors.
He explained that the "Detective Chinatown" series transformed historical themes into universal themes by accurately targeting its audience; the real-life film and television base of "Detective Chinatown 1900" not only recreated historical scenes but also boosted local tourism revenue in Leling, Shandong, verifying the synergistic effect of film and television IP and real-life entertainment; and "Decipher" attempted genre fusion and artistic breakthroughs.
Qian Zhongyuan, Executive Producer of Yitong Production
Qian Chongyuan also stated, "Director Chen Sicheng is the core of our team. He mentors young creators on set, teaching them how to solve practical problems. Under his leadership, we have a very well-developed team structure. Currently, we have about 300 people in total, including screenwriters, directors, producers, publicity staff, and post-production personnel." He also revealed that Chen Sicheng's new film, "Traces of the Detective," has just finished filming. This suspenseful crime film is adapted from the legendary story of Cui Daoshi, one of China's first generation of criminal technical police officers and a gun and bullet trace identification expert.
Director Chen Maoxian (right) and producer Shao Jianqiu (center)
The creators of Emperor Motion Pictures' "Break of Hell" shared their experience with the film's reception in mainland China. Director and screenwriter Chan Mo-yin pointed out that the film successfully tapped into the common genes of Chinese culture, transforming family ethics and universal themes into emotional anchors. "Hong Kong audiences were triggered by nostalgic identification due to localized details, while mainland audiences were moved by universal themes. This bridging role of Eastern ethical values allowed the film to resonate strongly with audiences in both regions."
Executive producer Shao Jianqiu believes that Emperor Motion Pictures' bridging role is reflected in its dual empowerment of both bringing in and going out. "In the future, we will continue to focus on the concentrated output of strong genres and promote the deep integration of Hong Kong films in the mainland market through talent training strategies."
Director Cheng Teng (right) and producer Cao Zijian (center)
Qianwan Animation positions itself as a platform for "breaking out of its niche by appealing to all ages and expanding its IP reach." Producer Cao Zijian points out that "animated films should be enjoyable for both adults and children," and the *Luo Xiaohei Chronicles* series has achieved this by expanding from a specific niche to a wider audience through multi-dimensional operations encompassing content, merchandise, and interactive experiences. Director Cheng Teng introduces the innovative practices of his new film, *The Great Tang Demon Detective*, which constructs a world where humans and demons coexist, blending elements of suspense, comedy, and fantasy. It utilizes 3D animation technology to present Eastern aesthetics and create a brand-new visual experience.
Director Yue Yang
Yue Yang, director of Matt Pictures' "Ma Teng, Don't Go," and screenwriter Liu Qian, along with Ye Ting, producer of "Good Things," shared their experiences in developing original content, highlighting the label's positioning of "precise audience targeting and original expression." Yue Yang emphasized that Matt adheres to a steadfast commitment to specific scenarios, focusing on the emotional experiences of particular groups to avoid generalizations. "Originality is not about being unconventional, but about stemming from authenticity." In the future, Matt will continue to support original creators, aiming to become the director's preferred creative label.
Producer Ye Ting
Ye Ting then reviewed the success of "Good Things": "The film was scheduled for release in October last year and premiered in late November, which was actually a slow release period. There was no natural hype, but the high score on Douban was entirely due to word-of-mouth. Our marketing strategy mainly involved large-scale preview screenings. Through three rounds of preview screenings, we started in Beijing and Shanghai, then moved to first- and second-tier cities, and then to third- and fourth-tier cities, spreading the word layer by layer. Especially after the second round of preview screenings, we found that the number of people in third- and fourth-tier cities who wanted to see the film and who bought tickets increased significantly across all metrics, indicating that the strategy was effective. After the official release, the box office was 130 million yuan in the first weekend and 140 million yuan in the second weekend. The average number of screenings on weekdays during the second week of release also increased."
At the end of the exchange, the participants jointly appealed that the breakthrough of films in the algorithm era does not lie in precise recommendation, but in the inherent appeal of moving content. "When content resonates genuinely with the audience, algorithms are merely icing on the cake."
