Ramayana is all set for a massive release not just in India but also across international markets. Interestingly, it is also among the rare Indian films to secure a theatrical release in China, though the release date is yet to be announced. This is significant as China was once considered a goldmine for Bollywood films. Since the 1990s, Hindi films have been doing huge business in traditional overseas markets like UAE-GCC, North America, the UK, Singapore, Australia and New Zealand, especially as filmmakers began exploring themes that resonated with audiences in these territories. It was around a decade ago that China emerged as a new and highly lucrative market. Unlike traditional overseas territories, China had its own unique box office dynamics and audience preferences. And if a film clicked with Chinese audiences, the sky was the limit.
Ramayana faces a BIG test in China: Why Bollywood’s former GOLDMINE has changed and what Ranbir Kapoor’s epic needs to succeed
Aamir Khan-starrer PK (2014) was reportedly the first Bollywood film to cross the Rs. 100 crore mark in China. However, it was Aamir’s next film, Dangal (2016), that truly established China as a force to reckon with. The sports drama collected a record Rs. 1227 crores in the country, stunning the trade, industry and probably even its makers. Aamir’s next, Secret Superstar (2017), in which he played a supporting role, went on to collect approximately Rs. 760 crores in China, more than ten times its India business!
Aamir Khan undoubtedly emerged as the number one Bollywood star in China. However, even films that didn’t feature him received an encouraging response. Andhadhun (2018), Bajrangi Bhaijaan (2015), Hindi Medium (2017), Hichki (2018), Mom (2017) and several others managed to find an audience in the country. However, the scenario changed drastically after the pandemic. China is no longer the same lucrative market it once was, not just for Bollywood but even for Hollywood productions.
Bollywood Hungama spoke to an eminent Hollywood distributor based in North America to understand what went wrong. Speaking on condition of anonymity, he explained, “China is a great market. It has 800+ IMAX screens and a cinema hall in every nook and corner of the country. At a certain point, the Chinese government realized that American movies are making tons of money from the Chinese market. They decided to put a stop to it. So, what we are seeing in China is not driven by consumers, but by the government. They take the call on whether or not a certain film gets released in cinemas. They just don’t pick and choose films for release but also determine how much a film can be marketed in China. They may also curtail the number of shows or screens, thereby impacting the overall collections. That’s why the China market has completely changed.”
When pointed out that the recently released The Odyssey collected approximately USD 116 million in China, he said, “The Odyssey was an exception. The filmmakers travelled to China and the government allowed the film a certain amount of leeway. But for certain films, they just don’t give permission or delay the release as long as possible. It also remains to be seen what fate awaits Avengers: Doomsday. Avengers: Endgame (2019) did extremely huge business in China.”
Interestingly, the decline in Hollywood’s dominance has coincided with extraordinary growth in the business of Chinese productions. The distributor explained, “The local films are heavily encouraged. They are allowed to do an unlimited amount of marketing and release in the maximum number of shows. During the Chinese New Year, international films can’t be released in the country.”
He continued, “The audience ultimately wants to watch a good film. The local films filled the gap and they benefited. Some of the films made by the industry were great. For instance, Ne Zha 2 (2025) was an outstanding film. So, if the film is well-made, it is consumed by a large number of people who then spread the word. This brings in a greater number of people who anyway don’t have anything else to watch or have limited options.”
The numbers tell their own story. Since the pandemic, only a handful of Hollywood films have managed to cross the USD 200 million mark in China. Meanwhile, several Chinese productions have taken the box office to an entirely different level. The biggest example is Ne Zha 2 (2025), which collected more than USD 2 billion from China alone!
Bollywood films in post-pandemic China
Unfortunately, Bollywood films, too, have struggled to recreate their earlier success in China. Chhichhore (2019) was among the first Indian films to arrive in Chinese cinemas in the post-Covid era. Despite its strong emotional appeal, the Sushant Singh Rajput-starrer received a muted response, collecting approximately Rs. 22 crores amid Covid-19 restrictions and challenging market conditions.
Other Indian releases fared even worse. English Vinglish (2012) collected approximately Rs. 1.39 crores, while Sui Dhaaga (2018) reportedly earned less than Rs. 10 lakhs. Drishyam (2015) performed comparatively better, collecting around Rs. 36 crores.
The notable exception has been Vijay Sethupathi’s Tamil thriller Maharaja (2024). Released in China in November 2024, it struck a chord with audiences and collected approximately Rs. 90 crores, becoming one of the biggest Indian success stories in the Chinese market since the pandemic. These contrasting performances underline an important point – the Chinese market still has tremendous potential for Indian films, but cracking it has become far more challenging and unpredictable.
Can Ramayana break the China jinx?
It is against this backdrop that Ramayana is gearing up for its release in China. The grand mythological epic arrives with unprecedented expectations, but it will also have to overcome several challenges.
An industry insider commented, “The China market has been changed or rather been forced to change, by external factors. Moreover, if you look at the list of top China grossers from India, they are all human, inspiring stories. Ramayana, meanwhile, is a grand affair with probably the best VFX ever for an Indian film. The Chinese audience is used to seeing CGI matching global standards in their films as well as that of Hollywood.”
Despite being a historic blockbuster in India, Baahubali 2 (2017) collected approximately Rs. 80 crores in China, while its first part managed a modest Rs. 7.50 crores. Rajinikanth and Akshay Kumar-starrer 2.0 (2018), another ambitious VFX-heavy production, also failed to make a major impact, collecting around Rs. 22 crores. The insider remarked, “Again, these films were released before Covid. But if Ramayana is rich in emotions, it can surely entice the audience to check it out in cinemas. If it clicks, then the sequel will have a greater advantage.”
Ultimately, Ramayana‘s success in China will depend not just on its grand scale, visual effects and star cast but also on its release strategy, marketing and, most importantly, its emotional connect with audiences. If the film strikes the right chord, it could revive Indian cinema’s fortunes in China, pave the way for an even bigger release for its sequel and possibly recreate the box office magic of Dangal.
100 cr + Bollywood grossers in China
Dangal – Rs. 1227 cr
Secret Superstar – Rs. 760 cr
Andhadhun – Rs. 335 cr
Bajrangi Bhaijaan – Rs. 296 cr
Hindi Medium – Rs. 215 cr
Hichki – Rs. 155 cr
PK – Rs. 120 cr
Mom – Rs. 109.35 cr
More Pages: Ramayana – Part I Box Office Collection , Ramayana – Part I Movie Review
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