Summary of Key Points
The average length of films during the 2025 Spring Festival box office period has reached 137.3 minutes (an increase of nearly 30 minutes compared to 2015), with top-tier films all exceeding 140 minutes. This is not the result of directors' whims but a "conspiracy" among film producers, cinemas, and audiences: producers add excessive content and showcase elaborate special effects to mitigate risks; cinemas prefer longer films in their scheduling strategies; and audiences are attracted by the increased runtime but at the cost of their time and physical comfort. This "length arms race" has led to a concentration of market power in the hands of a few top films, squeezing the space for smaller and mid-range films and diminishing the overall audience experience. Essentially, it reflects the anxiety of the Chinese film industry's reliance on box office revenue as its sole source of income.
I. The Spring Festival Box Office Period Has Become an Arms Race to See Who Has the Longest Films
The Spring Festival period accounts for nearly 40% of the annual box office, making every minute crucial for scheduling and public discussion. The average film length increased from 130 minutes in 2023 to 129.5 minutes in 2024, and then to 137.3 minutes in 2025—three years of gradually pushing the boundaries of audience tolerance. The situation is even more extreme for top-tier films: "The Legend of the Condor Heroes" and "The Dragon Operation" both have lengths of 146 minutes, and "The Investiture of the Gods 2" and "Nezha 2" both exceed 140 minutes, making this the new norm. Audiences joke that watching movies has become more like a physical challenge, as watching two popular films in one day requires a full day, with the added worry of missing key plot moments due to bathroom breaks.
The underlying logic is that film producers are reluctant to take risks with innovative themes (for fear of losing money), so they opt for longer runtime by adding more characters and grand scenes, using length as a symbol of high production value. Ten years ago, the focus of competition during the Spring Festival period was on stars and humor; now, it's about who can keep the audience engaged for three hours.
II. Why Don't Film Producers Cut the Length?
There are several reasons:
1. Too Broad Themes to Cut: Mythological, war, and epic films require extensive world-building (e.g., "The Investiture of the Gods 2" covers the complex relationships of numerous deities), theme shifts (e.g., "The Legend of the Condor Heroes" shifts from a martial arts story to a national drama), and multiple storylines (e.g., "Nezha 2" combines family, friendship, and fate). Producers fear that cutting these elements would betray the film's ambition.
2. High Cost of Special Effects: The production costs for special effects are substantial; for instance, "Nezha 2" and "The Investiture of the Gods 2" both cost hundreds of millions. Cutting even a few seconds of special effects would seem like a loss. Producers want the audience to feel the investment is worth the price, so they include all the special effects.
3. Risk Aversion: With the threat from streaming services, smaller films are less likely to be released in cinemas, so resources are concentrated on big-budget projects. Producers use longer lengths to demonstrate their films as "epic masterpieces," which is more appealing for promotion.
4. Creative Laziness: Some directors mistakenly believe that more characters and plotlines equate to a more profound story, but this often leads to a slow-paced film that leaves audiences wishing it were over sooner.
III. Is "More Content for the Same Price" Really a Discount?
Although ticket prices have not increased during the Spring Festival period, both audiences and cinemas are bearing hidden costs:
- Audience Costs: A 137-minute film, along with advertisements and travel time, results in an actual viewing time of about three hours. Audiences must plan their bathroom breaks and consider other commitments, such as family gatherings or exercise. Some even have to endure their parents' discomfort during the movie.
- Cinema Costs: The number of screenings per day depends on the film length. A 100-minute film can be shown 7 times, but a 146-minute film can only be shown 5 times, resulting in significant losses for cinemas during the busy festival. Scheduling managers prioritize long films with pre-sales success, leaving no chance for smaller films.
- Market Costs: The number of films with over 100 million yuan in box office in 2025 has decreased from 79 in 2024 to 51, with a growing disparity between top-tier and mid-range films. Longer films target specific audiences (e.g., the elderly, children, or those with back problems), turning movies from casual entertainment into endurance tests.
IV. Longer Films Are Turning the Film Market into an Oligopoly
Although the number of cinemas is increasing (93,000 in 2025), the longer runtime of films has not led to more total screenings. Big-budget films rely on their IPs and marketing to secure prime time slots, while smaller films are forced to release during less popular times or withdraw from the market. This leads to a homogenization of the market:
- Limited Genre Diversity: Resources are concentrated on themes like mythology and war, making it harder for comedies, dramas, and suspense films to thrive.
- Lack of Innovation: High production costs (hundreds of millions) deter investors from supporting original projects, leading to a reliance on successful IPs (e.g., sequels of "Detective Tang").
- Reduced Resilience: Only the top films can drive the market, and the weaker mid-range films are at risk. If a top film's box office performance falls short of expectations, it can cause the entire market to fluctuate.
V. Films Around the World Are Getting Longer, but China Is More Concerned
Even Hollywood blockbusters are getting longer (e.g., "Oppenheimer" at 180 minutes), but they have diversified revenue sources such as global distribution and streaming services. Chinese films, however, rely heavily on box office revenue, so they feel more pressured to use longer lengths to justify the price. In contrast, Japanese films typically have lengths between 100-120 minutes due to additional revenue streams like Blu-ray sales and television broadcasts. Korean film producers also consider the cinema's profit potential when deciding on film lengths.
Chinese audiences, still accustomed to short-form content (especially younger viewers), find longer films both engaging and intimidating. While some long films, like "Nezha 2," are worth watching multiple times, others make viewers hesitate due to their length.
Conclusion
Good films don't necessarily need to be long; poor films, on the other hand, benefit little from longer runtime. A film's length should serve its content. The essence of cinema is to provide an enjoyable experience, not just a long runtime. If we return to using length as a narrative tool, audiences can enjoy the pleasure of watching a movie. Otherwise, this arms race will only harm everyone: audiences become exhausted, cinemas suffer financial losses, and smaller films disappear, leaving only a few big-budget films dominating the market.