This director is vindictive.

As 2026 draws to a close, the total domestic box office for films this year has hit a record low in the years since the pandemic.

The entire industry is crying out: "The winter for Chinese-language films has truly arrived!"

What is particularly surprising is that many films this year—including some with strong casts and large production scales—have performed very poorly at the box office.

Taking the National Day holiday as an example, this period has always been a box office guarantee for "patriotic blockbusters," which can be said to be a tried-and-true "secret weapon."

Even in 2025, although the films released during the National Day holiday did not receive outstanding reviews, their box office performance was still relatively stable. Although it was slightly lower than the previous year, it was still within an acceptable range overall.

However, this year, the situation took a sharp turn for the worse, with box office results that were simply astonishing.

The patriotic blockbuster films that were once considered a "panacea" have suddenly stopped working, and audiences seem to no longer be willing to pay for this type of subject matter.

Worse still, several films originally scheduled for release this year have been withdrawn before their official premiere. This phenomenon of "withdrawing before release" has further exacerbated the market's sluggishness and uncertainty, and has made people inside and outside the industry increasingly confused and anxious about the future of Chinese-language films.

With the official release of the 2026 annual box office rankings, the entire film industry was plunged into a state of shock and heaviness.

People were surprised to find that the top two spots on the list were occupied by films by Chen Mo:

One is "Domestic Violence," which had just finished its run before he announced his retirement from the film industry, and the other is a film that uses the "Seven Fairies' Retirement Ceremony" as its promotional point and is also the final chapter of the "Chinese Wedding Attire" series.

The box office success of these two films stands in stark contrast to that of other films.

Following them, the other films on the list generally performed poorly at the box office, with very few breaking the 10 billion yuan mark. This stark disparity has inevitably led to widespread lamentation both within and outside the industry, with many believing that the Chinese-language film market is experiencing an unprecedented "winter."

Of particular note is the large-scale rise of short-form film and television content in recent years. Although their plots are often criticized as simple or even clichéd, this new content format has accurately captured the entertainment needs of viewers during fragmented time, allowing people to obtain instant viewing pleasure in a short period of time.

Short dramas have not only attracted a large number of young viewers but have also gained popularity among the elderly, becoming a new option for their daily entertainment. Even more thought-provoking is that the total size and value of the short drama market quietly surpassed the traditional film industry in 2026. This change has not only impacted box office revenue but has also further exacerbated concerns and reflections about the future development of the film industry.

Of course, Chen Mo once again became the most dazzling guy.

While most movies flopped, Chen Mo's film still stood out. Although it was largely due to the retirement of the Seven Fairies and Chen Mo himself, the box office success was undeniable, which led many netizens to make jokes about it.

"A film industry winter? Chen Mo: That doesn't exist!"

"So this is why true strong people never complain about their environment?"

"The entire industry is complaining about the downturn, but Chen Mo's cinema is still keeping the heating on!"

"While others are withdrawing from their release schedules, he dominates the charts; this wave is uniquely heartwarming for 'Silent' dramas."

"I suggest the Film Association rename itself 'Chen Mo's Works Symposium'—after all, other films can't be discussed to determine box office success anyway."

"No matter how popular the short drama is, it can't stop Chen Mo from 'cultivating immortality' in the movie theater!"

"So it's not that the market is bad, it's that Chen Mo is too good (doge)."

But the more this is the case, the more people miss Chen Mo.

After all, no matter how amazing Chen Mo is, we can only see his movies this year. Next year's rankings won't have much to do with Chen Mo.

In fact, with the release of the annual financial reports of major film and television companies this year, the outlook can be described as bleak.

The stock price also plummeted in response.

Only Shengshi Pictures, although its net profit also declined overall, still stands out from the crowd.

It can be described as a bright spot amidst a sea of ​​red in the film and television industry stocks.

Despite the general industry downturn, Shengshi Pictures managed to hold onto a glimmer of hope amidst the bleak market, thanks to its long-standing close relationship with Chen Mo. This only intensified the regret and resentment among film fans—why, at a time when the market desperately needed a boost, did this director, who had repeatedly created miracles, choose to leave? Consequently, a torrent of voices erupted online:

"Look at the current box office charts. The top two spots are both held by works by Chen Mo. Isn't the difference obvious enough? Without him, the entire industry doesn't even have anyone who can compete!"

"People used to blame the audience for the bad market, but now Chen Mo has proven them wrong: it's not that the audience doesn't like watching movies, it's that you can't make movies that make people really want to buy tickets!"

"Shengshi Pictures is only able to stay afloat thanks to Chen Mo's legacy, while other companies have already plummeted. Chen Mo alone is half of the industry chain!"

“Short dramas are popular, but those are fast-moving consumer goods that you forget after watching them. What we want to see are real movies that people can remember and that are worth watching two or three times—this is a skill that only Chen Mo has left in the entire industry now.”

"Please, come back! We don't need patriotic themes, we don't need big casts, you can just make whatever you want, the market desperately needs something new!"

For a moment, the fans' shouts were direct and anxious:
They are not just reminiscing about a director, but more like searching for the only axe that can break the ice in the dead of winter. The colder the industry becomes, the more "Chen Mo's comeback" transforms from a topic into an eager anticipation—as if as long as he is willing to return, this "film winter" sweeping across Chinese cinema can see the glimmer of dawn.

#ChenMo, hurry up and make a comeback!#
#ChenMo, please save the movie!#
These topics spread like wildfire across the internet, quickly climbing to the top of the trending topics list within just a few hours, leaving people dizzy with excitement. How many times has this happened already?
Since Chen Mo announced his retirement from the entertainment industry, all the directors and companies that were originally eager to seize the opportunity have fallen silent.

why?
Even though Chen Mo is nowhere to be seen, he still trends on social media, and each time it's not his own doing—it's all thanks to the audience, his peers, and even box office data that push him up. People used to criticize him as a "marketing master" and "good at hype," but now? He's nowhere to be seen, yet his legend is everywhere.

This trending topic has made everyone feel both envious and jealous:

On the one hand, Chen Mo has been out of the entertainment industry for several months and has not made any public appearances;
On the other hand, his films occupied the top two spots on the annual box office charts, completely dominating all new releases released at the same time. The data speaks for itself; you have to admit it.

Ironically, even their competitors—directors and production companies—are now joining the fans in chanting:

"Chen Mo, come back!"

"This industry really can't function without you!" A scene of the entire industry spontaneously "seeking a comeback" is unfolding in a way that is both real and absurd.

Chen Mo's old friend, Lao Wang, who was riding high on the success of "Ne Zha 2," seems to have been knocked senseless again.

As one of the major figures in the Chinese entertainment industry, Lao Wang can be considered a "celebrity bigwig".

Although it's not that high-profile.

This time, he surprisingly agreed to an exclusive interview with an industry media outlet.

"In 2026, everyone is saying that the film industry is facing a downturn. Some say it's because of film quality issues, while others say it's because people have more choices, such as the rise of short dramas. What do you think is the real reason? Is it the widely circulated notion of a decline in consumption? Are audiences no longer willing to watch movies? Is their desire to consume decreasing?" the reporter asked.

"As everyone has seen, the box office data for 2026 shows that the market has indeed encountered unprecedented challenges."

The so-called 'winter' is not that audiences have left the theaters, but that they have voted with their feet and said 'no' to works that are not good enough.

In fact, during those special years, the film market was truly experiencing a harsh winter, but at that time, people were not so pessimistic because at least we still had hope.

But now…

He shook his head.

"So what do people mean by declining consumer desire? But as everyone knows, going to the movies has never been a high-end or luxury consumption; on the contrary, it is one of the cheapest forms of consumption."

Moreover, tourist attractions across the country are still packed with people!
Therefore, while there may be a decline in consumer desire and a downgrade in consumption, it is definitely not a major problem for the film market.

The real issue lies in the rankings themselves.

In this environment, the fact that Chen Mo's films occupy the top two spots at the annual box office serves as a mirror, reflecting the current state of our industry—it's not that there's no market, but rather a lack of works that can truly ignite it.

"People keep saying that a 'winter' has come, but if you ask me, it's not that audiences don't want to go to the cinema anymore, it's that audiences are clearly telling us through the issue of whether or not they buy tickets: the stuff you make isn't good enough, we don't accept it!"

"It's not that the market is dead, it's that we lack the kind of good films that can make audiences willingly spend money and truly revitalize the market!"

"So what do you think about the calls for Chen Mo's comeback, with the belief that his return could greatly improve the increasingly sluggish film market?" the reporter asked.

"I think there really is hope. Although in the past we always said that the film industry can function without anyone, Chen Mo is really different."

Even when we chat in private, we joke that Chen Mo's retirement from the entertainment industry might be a trigger for the sluggish film market.

"If even the best directors are losing faith in the film market, what will become of the entire industry? How can the public have confidence?" Old Wang said with a smile.

"Therefore, if Chen Mo is really willing to make a comeback, at least in terms of boosting market confidence, the effect will be immediate."

"Chen Mo's departure makes us see more clearly the value of a truly influential creator to the industry's confidence. His works not only brought him success but also boosted the morale of the entire market, proving that high-quality content will always find an audience. The confusion and anxiety that permeates the industry now precisely illustrate that we need new 'Chen Mo-style' creative forces, and we need good works that can break conventions and touch people's hearts to reawaken the market."

Then Lao Wang also got on the trending topics list because of Chen Mo.

#Old Wang from Enlight Media urges Chen Mo: Come back soon!#
"Old Wang is absolutely right! Everyone on the internet is saying that the economic environment is bad, but what's the reality?"
Everyone actually has some money in their pockets; at least they don't lack money to go to the movies.

There just aren't any good movies!

"Chen Mo, please make a comeback soon! Putting everything else aside, as long as Chen Mo makes a comeback, I will definitely watch his movies!"

"It has to be Chen Mo. He's absolutely number one as a director!"

“No problem. I found it strange at the time that Chen Mo withdrew from the limelight so abruptly. So, did he really foresee this outcome?”

Not only that, but soon other people in the industry also started to speak up.

In an interview, a veteran producer said, "The rise of short dramas has indeed diverted attention, but the core charm of movies lies in the immersive experience and profound emotional resonance, which short dramas cannot replace."

Chen Mo's success proves this point perfectly—even during an industry downturn, high-quality films can still create miracles.

What we need most right now are creators like him, who let their work speak for itself and respond to doubts with box office success. The Chinese film industry not only needs Chen Mo's return to inject confidence, but also needs more solid, high-quality works to rebuild the audience's trust and enthusiasm.

The current market is like stagnant water, desperately needing a 'catfish' to revitalize it. Chen Mo is the perfect catfish—his works always break conventions, generate buzz, and even redefine audience expectations. If he's willing to return, I believe the entire industry chain will spring back into motion, from investment and creation to promotion, experiencing a long-awaited surge in activity.

Another cinema manager who had worked with Chen Mo also spoke out on social media: "The data doesn't lie. This year, almost all of our cinema's top three box office theaters have been occupied by Chen Mo's films for a long time. It's not that audiences don't like watching movies, but that they only like watching movies that are worth watching. Chen Mo's departure has left the market without a 'beacon,' and now everyone is calling for his comeback, which is actually a call for the return of good content."

Meanwhile, professors at film and television schools are also discussing this phenomenon in classrooms and forums.

A professor at the Beijing Film Academy frankly stated, "Chen Mo has become a classic case study in the industry. His retirement and the sudden cooling of the market form a stark contrast, reminding us that the essence of film is always content. The industry-wide outcry today is both a plea to retain a talented director and a collective reflection on the era where content is king."

The online outcry grew increasingly intense, even culminating in an online petition with 10,000 signatures for Chen Mo's comeback. Fans created a mashup video, splicing highlights from Chen Mo's past films with the dismal box office figures of 2026, captioned: "Without you, movies have lost their color." The hashtag #ChenMoComebackToSaveTheMarket# remained at the top of the trending topics list for three days, garnering over a billion views.

Even overseas media have taken notice of this phenomenon.

The Hollywood Reporter commented, "The Chinese film market is facing a rare crisis of confidence, and a reclusive director has become the savior that the nation is hoping for. This reflects not only the audience's preference for Chen Mo, but also the entire industry's hunger for high-quality creative talent."

A bottom-up wave of discourse, sweeping across the industry and beyond, ultimately culminated in a simple yet profound cry—

"Chen Mo, come back to making movies!" (End of Chapter)