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“Kung Fu Soccer,” directed by Stephen Chow, topped China’s 2026 summer box office with RMB2.315 billion ($344.4 million), as the overall summer season reached RMB12.498 billion ($1.86 billion), up 4.45% year-on-year
and marking a second straight year of growth, according to a new report from Maoyan Research Institute, the research arm of Maoyan Entertainment.
The Insight Report on 2026 Summer Box Office Film Data, citing data from Maoyan Pro and the China Film Administration, covers the period from June 1 to Aug. 31. Total cinema admissions climbed 5.86% year-on-year, reaching 340 million and reflecting renewed audience enthusiasm. Each screening drew an average of 8.8 admissions, while occupancy averaged 7.2%, both modest gains over the previous year. Average ticket prices fell for a second straight year, a trend Maoyan credited with broadening access and drawing more moviegoers into theaters.
The proportion of solo moviegoers rose for a fourth consecutive year, the report found. Regionally, tier-one cities accounted for their largest box office share in six years, while South China’s box office share broke a six-year record, driven by hits including “Kung Fu Soccer,” “Dear You” and “V.”
Four summer releases crossed RMB1 billion, and all 10 of the season’s top-grossing films were built on existing intellectual property, a pattern Maoyan said points to IP’s growing role in driving ticket sales and operational efficiency. The report also noted that directors and actors themselves are increasingly functioning as commercial IP, thanks to recognizable styles and consistent audience appeal.
“Once Upon a Time in the Middle East,” starring Shen Teng, placed second for the season with $290.2 million. Local animated title “All Wishes Come True!” took third with $274.6 million, buoyed by its comedic, family-friendly appeal. “Spider-Man: Brand New Day” ranked fourth with $228.9 million, while Christopher Nolan’s “The Odyssey” rounded out the top five with $89.7 million, posting the strongest Imax box office contribution rate in recent years.
Emerging IP also found an audience: horror titles “Obsession” and “Backrooms,” both directed by young filmmakers, generated outsized global box office returns relative to their low production costs, pointing to strong demand among younger viewers for original genre fare.
Lai Li, a market analyst at Maoyan Entertainment, said the season’s second half gained substantial momentum, lifting both overall box office and ticket sales, with films spanning a range of genres pulling audiences back into theaters through their varied appeal. Lai added that the trend reinforces content quality as the basis of the market’s stability and long-term resilience.
