In November 1994, the release of the American thriller *The Fugitive* in Chinese cinemas marked a milestone in cultural exchange between China and the United States, the world’s two largest film markets. This event was the first major American feature film officially screened on the Chinese mainland since 1949, signaling a new phase in film collaboration and market integration.

However, the history of American films in China dates back further. In 1959, *Salt of the Earth*, a film inspired by a miners’ strike in New Mexico, became the first American movie shown in China after the founding of the People’s Republic. This early screening offered Chinese audiences a rare glimpse into the lives of ordinary Americans amid a period of limited cultural exchange.

In 1987, the China Film Administration invited the creators of the James Bond film *The Living Daylights* to China to discuss potential cooperation on the sequel *Licence to Kill*. Although the partnership did not materialize—partly due to preceding international films like Bernardo Bertolucci’s *The Last Emperor* having already filmed in China—these talks laid groundwork for future collaborations. Steven Spielberg’s *Empire of the Sun* later became the first major American film to receive formal Chinese cooperation for on-location shooting inside the country.

Significant momentum in China-US film relations developed in the 1990s, coinciding with China’s broader economic reform and opening policies. During this period, Hollywood films began entering the Chinese market in greater numbers. Early American imports included *Forrest Gump* and *True Lies*, but it was James Cameron’s *Titanic*—released in 1998—that became a cultural phenomenon, grossing 360 million yuan (about $53.7 million) and setting a box office record that lasted more than a decade. The success of *Titanic* introduced mainstream Chinese audiences to big-budget Hollywood spectacles and influenced domestic filmmaking practices.

China’s film-import policies evolved alongside these trends. In 1994, the China Film Group Corporation was authorized to import 10 foreign films annually under a revenue-sharing model, a quota that expanded to 20 films after China joined the World Trade Organization in 2001. A 2012 agreement between China and the United States further raised the annual quota to 34, with requirements for 3D or large-format features. By the end of 2025, more than 1,000 American films had been officially released in China, outnumbering imports from all other countries.

Release practices have shifted as well, with many American films now opening simultaneously or even ahead of their U.S. premieres. English-language screenings with Chinese subtitles have become standard since 2002, reflecting growing English proficiency among younger Chinese audiences.

Meanwhile, the Chinese film industry has expanded rapidly. Annual film production surged from around 100 titles in the 1990s to over 1,000 by recent years, with box office revenue increasing from 860 million yuan in the 1990s to 51.8 billion yuan in 2025. Although Hollywood films have played a significant role in China’s market, their dominance has waned somewhat since 2021, due in part to improvements in domestic storytelling and visual effects.

Chinese productions have achieved remarkable commercial success. The animated film *Ne Zha 2* holds the record for the highest-grossing movie in China, earning 15.4 billion yuan, while top American films like *Zootopia* and *Avengers: Endgame* have grossed 4.14 billion yuan and 4.02 billion yuan, respectively. This underscores the growing strength of China’s domestic film industry alongside sustained international engagement.

For Chinese filmmakers, the interaction with Hollywood has provided valuable learning opportunities, fostering creative exchanges that blend traditional Chinese culture with global cinematic trends. Over time, Chinese cinema has developed its own distinctive voice, attracting international attention while continuing to deepen ties with the world’s largest film industry.