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Hong Kong cinema
Opinion
Editorial
SCMP Editorial

Hong Kong cinema can still succeed

The industry needs more than subsidies and discounts to sustain development. It must reinvent itself with more gems and new operating models

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Film-goers pack into a theatre at iSquare in Tsim Sha Tsui on the government-subsidised Cinema Day on April 25. Photo: Edmond So
Editorials represent the views of the South China Morning Post on the issues of the day.
As more people shun the silver screen in favour of online streaming, Hong Kong’s film industry may increasingly resemble the unfolding plot of a slow-burn tragedy. But if Saturday’s crowds across local cinemas are any reference, its fate is far from being sealed. The government-subsidised Cinema Day drew a record 201,000 film-goers as 52 cinemas offered discounted movie tickets at a flat HK$30 (US$3.83) for 1,694 screenings, according to the Hong Kong Theatres Association. The footfall marked a 3.2 per cent increase from 2025, when 194,755 people flocked to the cinema. But the overall occupancy rate fell slightly, by 2 percentage points, from 83 per cent last year.

Launched in 2023 as part of the post-Covid recovery, the event attracted more than 600,000 admissions and generated over HK$44 million in box office revenue over the past three years. Taking into account promotions by shopping centres, restaurants and retail outlets, the benefits to the economy and social atmosphere are significant. However, the film industry needs more than government subsidies and discounted tickets to sustain healthy development. Amid intensifying competition, the sector must strive to reinvent itself via more quality productions and new operating models.

A promising start to the new year came as Back to the Past – the science fiction blockbuster featuring a special agent stranded by a time machine in the pre-Qin period – made history by making no less than $45.4 million in its opening week, the highest for a local film. Meanwhile, the success of Ciao UFO and Sons of the Neon Night at the Hong Kong Film Awards shows good local productions still resonate with audiences. The sci-fi drama was crowned best film in capturing nostalgia for the city’s treasured past via an urban myth linked to a public housing estate. The latter, a dystopian crime thriller set in a snowy Hong Kong, bagged eight prizes.
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The authorities have rightly provided more support to the creative industries in recent years. Meanwhile, the growing trend of cross-border co-productions has enhanced market access and survival for the sector. With sound strategies and captivating plots, the film industry can continue to be a part of Hong Kong’s success story.

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