Chinese protectionism/censorship (they only allow 34 Hollywood movies a year) has helped incubate a domestic film industry. As Richard Hanania points out, citing a study by James McMahon, that as of now, 9 out of 10 of the highest grossing films in Chinese history are domestic, all released in the last few years.
State censors require that all films in China, both of domestic and foreign origin, adhere to “the principles of the Chinese Constitution and maintain social morality” (O’Connor & Armstrong, 2015, p. 9). These standards are maintained through the prohibition of certain images and scenes that depict “demons or supernaturalism, crime or any other illicit or illegal actions within China’s borders, disparagement of the People’s Liberation Army and police, and anything that could be perceived as anti-China–including merely damaging Chinese sites or monuments.
Something like Leviathan (2014), a depressive/cynical-for-the-sake-of-it movie with Russophobic undertones, wouldn’t have been made (or at least screened) in China and that’s probably a good thing for the Chinese.
That said, another curious finding from the author James McMahon, although it is not in the paper, is that Russia – along with India and China – has the least intersection with American cultural consumption. That is, they have the lowest correlations between films that do well in the US box office and in their own.
This seems to largely be a map of cultural closeness to the US. Australia, Britain, New Zealand, and South Africa are all in the top 5 closest countries to the US.
I suspect that the distance between the US and Russia might even start to further increase with the increasingly heavy-handed promotion of “Woke” themes in American cinema.