Over the past four years, Hollywood movies have struggled to capture the interest of Chinese audiences. This trend has seen a notable exception with the unexpected success of Disney and 20th Century’s “Alien: Romulus,” a gritty sci-fi thriller that has garnered an R rating for its graphic content. The film has emerged as a beacon among American imports, accumulating $82 million in mainland China and is projected to reach $114 million (RMB819) by the end of its theatrical run, according to forecasts from Chinese ticketing agency Maoyan.

Only one other 2024 U.S. release, Warner Bros.’ blockbuster “Godzilla x Kong: The New Empire,” has made a significant impact on China’s box office with $134 million. However, this success comes with a caveat, as the film was produced by the Chinese-owned Legendary Entertainment and distributed by its local unit, Legendary East.

In contrast, other major studio offerings have yielded modest returns in China. Disney’s “Deadpool & Wolverine” earned $58.6 million, Universal’s “Despicable Me 4” brought in $54.9 million, “Kung Fu Panda 4” managed $51.7 million, and Disney’s “Inside Out 2” collected $47.1 million. These figures are significantly lower than what would have been expected just five years ago. Disney’s “Kingdom of the Planet of the Apes” grossed a mere $28.9 million, while Warner’s “Furiosa: A Mad Max Saga” and Apple and Universal’s spy thriller “Argylle” were outright flops, earning only $8.3 million and $2 million respectively.

“Alien: Romulus” has defied these trends and box office analysts are surprised that the movie was even allowed to screen in China. It is only the third film out of the seven in the “Alien” franchise to be released in China; 2012’s “Prometheus” earned $35.2 million and 2017’s “Alien: Covenant” garnered $45 million. These figures pale in comparison to the blockbuster performances of other Hollywood films during that era, such as Pixar’s “Coco” ($189 million), “War for the Planet of the Apes” ($112 million), “Thor: Ragnarok” ($112 million), and “The Fate of the Furious” ($392 million).

Several factors have contributed to the promising performance of “Alien: Romulus.” Positive reviews and strong word-of-mouth have played a significant role, as evidenced by its high scores on local rating systems like Maoyan (8.9 out of 10), Taopiaopiao (9.1 out of 10), and Douban (7.5 out of 10). Additionally, there has been a lack of compelling local film options and a void of truly scary movies in China’s summer lineup, which has been dominated by crime, comedy, and feel-good dramas. Chinese audiences were also able to watch “Romulus” without any censorship cuts, unlike “Deadpool & Wolverine,” which had drug references and sexual innuendos removed for Chinese viewers. This uncut presentation is rare for an R-rated film in the Chinese market, where theatrical releases can be accessed by moviegoers of all ages.

“It’s surprising an R-rated horror film got into China, but ironically that’s one of the major reasons for its success,” says Stanley Rosen, a professor of political science and international relations at USC. He notes that the film stands out from other current offerings in China.

Although “Romulus” continues a franchise that began 45 years ago with Ridley Scott’s 1979 classic “Alien,” Rosen believes that its success is partly due to the fact that audiences don’t need to have seen all previous installments to enjoy it. Directed by Fede Alvarez, the film focuses on young intergalactic colonists (played by Cailee Spaeny, David Jonsson, Archie Renaux, and Isabela Merced) who encounter a terrifying life form while scavenging a rundown space station.

“You can see ‘Romulus’ as a standalone story,” Rosen explains. “It references prior ‘Alien’ films but isn’t dependent on them for understanding, unlike series such as ‘Star Wars,’ where each installment builds on the others.”

China’s government exercises strict control over which movies can be shown in theaters, often avoiding those with explicit language, gratuitous violence, or blasphemy. However, censors have become more lenient recently to help boost box office revenues, which are down over 21% compared to the same period in 2023. This leniency has allowed for a more robust release calendar.

“Though Hollywood imports aren’t making as much as they used to, they’re still generating some revenue in China,” says Erich Schwartzel, author of “Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy.” He adds that the financial instability of the market has led to a more open attitude towards foreign films.

Between 2020 and 2022, China was particularly stringent about Hollywood films due to political reasons and grievances with certain studios. For example, “Top Gun: Maverick” was denied an import permit due to perceived U.S. propaganda, while Disney’s “Eternals,” “Shang-Chi and the Legend of the Ten Rings,” and Sony’s “Spider-Man: No Way Home” also failed to secure approval. The COVID-19 pandemic further disrupted Hollywood production timelines and release schedules, contributing to the slowdown. During this period, China also limited the number of approvals for foreign-made films.

Today, there is less talk of quota restrictions on foreign films. Even past practices of granting short marketing windows and unfavorable release dates have been partially relaxed. For instance, “Alien: Romulus” enjoyed a simultaneous release in both China and North America on August 16.

Despite these changes, U.S. movies still face challenges in the Chinese market. Only a handful of American-produced films have achieved significant box office success in China since the pandemic: “Fast X” ($139 million in 2023), “Guardians of the Galaxy Vol. 3” ($86 million in 2023), “Avatar: The Way of Water” ($245 million in 2022), “Jurassic World Dominion” ($157 million in 2022), and “F9: The Fast Saga” ($216 million in 2021).

Hollywood once dominated ticket sales in China, but this has changed as Chinese audiences have developed a stronger preference for local content. Meanwhile, China’s commercial filmmaking has improved significantly in terms of budget, craftsmanship, and emotional relevance. Local hits like the feel-good boxing film “YOLO” ($639 million), sports comedy “Pegasus 2” ($474 million), social-climbing dramedy “Successor” ($454 million), and crime satire “Article 20” ($343 million) overshadow the performance of even successful imports like “Alien: Romulus.”