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Low-budget ‘Niu Lai’ emerges as a surprise hit with its ‘disaster-level’ animation, grabbing millions in China as curiosity rivals Nolan’s ‘The Odyssey’_我的网站
一 | 暑期档电影票房突破百亿元，一批国产优质影片口碑票房双丰收；众多实体零售企业顺应消费发展新趋势，打造多元消费场景、优化大众消费体验；“跟着课本去旅行”成为今夏颇具代表性的出游方式，古诗、课文主题研学线路咨询量大涨，相关产品预订热度走高…… 暑期消费热力十足，正是今年以来提振消费成效显现的生动缩影。
二 |
Niu Lai, a low-budget original animation with rudimentary character modeling and an unconventional, abstract storyline, hit Chinese theaters on August 5 but earned just 7,169 yuan ($995) during its first nine days. But its cumulative box office had surpassed 2.5 million yuan as of press time.
Niu Lai opened with little of the machinery normally associated with a commercial theatrical release. It had no star-studded cast, major promotional campaign or significant pre-release buzz. Its opening-day box office was just over 3,400 yuan ($474), with fewer than 300 moviegoers watching it during its first nine days, according to Maoyan.
That changed on August 14, when a social media topic about its nine-day box office of just over 7,000 yuan went viral. Rather than praising the film, many users were drawn to its unusually rough production and two-person creative team.
Terms such as “the most basic theatrical film,” “disaster-level” and “worse than AI-generated animation” circulated online, with some netizens saying they could “hardly believe it was a Chinese animated film released in 2026.” Others said they wanted to see it simply to find out “just how bad it could be.” Some even joked that stock market investors were heading to theaters after wishing for a “bull market” to arrive soon.
The online buzz has also sparked a wave of fan-made content, with netizens inserting the film's little bull character into posters for various classic movies. The playful edits have further fueled its visibility on social media, turning Niu Lai into an internet meme and a shared online joke.
The film's viral attention also spawned jokes that Nolan might not have expected Niu Lai to become an unlikely rival to The Odyssey, which opened in China on August 14 amid intense competition for summer moviegoers.
Its rise stands in sharp contrast to the conventional logic of China's increasingly competitive theatrical market, particularly this summer, when a string of high-profile releases, including The Odyssey, Once Upon a Time in the Middle East and Spider-Man: Brand New Day, are competing for audiences.
"Niu Lai has been driven by curiosity and social currency, with audiences essentially paying a premium for the feeling of being part of a trending phenomenon. Curiosity can generate genuine audience interest, but social-media-driven hype is essentially a bubble built on traffic," Zhang Peng, a cultural researcher and associate professor at Nanjing Normal University, told the Global Times.
"When cinemas add screenings for Niu Lai, they may appear to be responding quickly to market demand, but in reality, they are giving in to online buzz rather than making decisions based on the quality of the film itself," Zhang said.
According to Zhang, The Odyssey's strong reception and high theater attendance in China demonstrate that high-quality content, combined with a distinctive and hard-to-replicate theatrical experience, remains at the heart of the cinema business.
"Niu Lai, meanwhile, serves as a warning that speculative filmmaking and curiosity-driven marketing should not be mistaken for a replicable formula, as relying on such tactics offers little positive value for the long-term development of the film industry," he said.
"A fleeting viral frenzy can never replace a solid creative foundation. Content quality remains the enduring value that will sustain the film industry over the long term," Zhang said.
。国家统计局数据显示，1至7月份，全国网上商品和服务零售额117214亿元，同比增长4.8%。
三 | 其中，网上商品零售额73965亿元，增长4.6%；网上服务零售额43249亿元，增长5.2%。亮眼数据的背后，是新业态、新模式、新场景的协同发力，为消费市场扩容提质注入强劲动能。 当前，依托移动互联网的普及和信息技术的发展，我国居民消费结构加速迭代，消费模式正从传统商品消费为主，转向商品与服务消费并重，个性化、品质化、多元化消费渐成主流。近期发布的《扩大消费“十五五”规划》明确提出，以消费体验为重点，培育消费新业态新模式新场景。 可以说，新业态、新模式、新场景正日益成为扩大消费的核心增长点，更是撬动消费升级、激活市场新动能的重要抓手。顺应消费新趋势、对接民众新需求，凭借业态焕新、模式创新、场景出新，精准打通供需适配堵点，是提振消费的关键所在。 培育市场新业态，以业态焕新激活消费增量。
四 | 新业态立足市场变化、贴合消费趋势，有效打通供需堵点，将潜在消费意愿转化为现实购买力。例如，多地探索发展“票根经济”新业态，以赛事、演出票根作为消费凭证，释放潜在消费意愿，把单次观赛、观演流量转化为吃住行游购娱的现实消费，有效拉长消费链条。 扩容优质新供给，以模式创新催生全新需求。供需相辅相成、双向赋能，新供给催生全新消费，新需求引领供给升级。
五 | 例如，今年暑期，一些平台围绕“住宿+”进一步丰富旅游产品供给，创新推出“住宿+桨板”“住宿+海岛旅拍”等服务，打破传统住宿单一过夜服务局限，融合休闲度假、文化体验、身心疗愈等多元功能，推动住宿消费从基础刚需向品质体验升级。 拓展多元新场景，以场景出新释放消费活力。文体旅深度融合，是当前撬动消费增长的一大亮点。例如，各地城市足球联赛火热开赛，赛事流量有效转化为城市发展增量。有短视频平台联动多地文旅、体育部门推出“跟着赛事去旅行”主题活动，其中，“跟着苏超游江苏”相关视频就直接带动当地蟹粉汤包等特色美食团购销量增幅超4倍。鲜活实践，生动诠释了新场景的引流赋能作用。 以新业态、新模式、新场景为代表的新型消费，体现着消费升级的方向。牢牢抓住供需适配这个“牛鼻子”，在激发新型消费潜能上持续发力，不断满足多元化、个性化、品质化的消费需求，就能进一步拓展消费增长空间，为经济高质量发展提供有力支撑。(中国经济网专栏作者 毛同辉) 来源：中国经济网。
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Published on:04:31:14