In recent years, China's film market has boomed, and the box office has repeatedly reached new highs, but it has also exposed some problems worthy of attention. One of the most striking phenomena is that many directors who are halfway home, sketch-like plots, and a gimmick can resonate strongly with the public, making people wonder: Why can such a movie get such a high box office?
Take the movie "Hello, Li Huanying" directed by Jia Ling as an example, the film successfully attracted a large number of audiences with a simple storyline - Jia Ling traveled back in time and space to meet her young parents in order to fulfill her mother's wish - and Jia Ling's own success and other gimmicks. In the end, the film not only achieved great success at the box office, but also became the champion of the Spring Festival stalls. It's all a familiar taste. Same routine.
However, such success does not mean a boom in Chinese films. On the contrary, this phenomenon exposes certain problems in the Chinese film market. First of all, this type of film often lacks depth and connotation, focusing only on short-term entertainment effects, while ignoring the responsibility and mission of film as an art form. Secondly, this phenomenon also reflects the audience's lack of cognition and aesthetic level of films. When choosing a movie, many audiences tend to only focus on superficial factors such as the cast and director's fame, while ignoring the quality and value of the movie itself.
Of course, we cannot deny that Jia Ling's success has its inevitability. As a comedian, she has a wide fan base and popularity, and has a high appeal to the audience. At the same time, she also has a keen market insight, and pushes the film to the peak of the market through precise marketing methods.
However, we also need to be soberly aware that this success does not represent the future development direction of Chinese films. If China's film market continues to rely on superficial gimmicks and short-lived entertainment to attract audiences, the future prospects will be very worrying.
To change this, we need to start on a number of fronts. First of all, directors and actors should pay more attention to the artistry and connotation of films, and strive to create more in-depth and valuable works. At the same time, the audience also needs to improve their aesthetic level and cultural literacy, and learn to choose and evaluate movies more rationally. In addition, the film market also needs to be more regulated and transparent, break the monopoly and excessive intervention of capital, and allow more talented directors and actors to have the opportunity to participate in market competition.
In short, the development of China's film market requires the joint efforts of all parties. Only in this way can we truly usher in a healthy and prosperous era of film.