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  Chinese science fiction film
 When it comes to Chinese sci-fi films, we have to mention Wandering Earth.
 Wandering Earth is a science fiction film produced by China Film Corporation, directed by Guo Fan, written by Gong Ge, Yan Dongxu, and Guo Fan, with a special appearance by Wu Jing, and starring Qu Chuxiao, Li Guangjie, Wu Manda, and Zhao Jinmai, which was released on 5 February 2019 in Mainland China.

The film is based on Liu Cixin's novel , and is set in 2075. It tells the story of the imminent destruction of the sun, after which the solar system is no longer suitable for human survival, and in the face of the desperate situation, mankind will start the ‘Wandering Earth’ program, attempting to escape from the solar system with the Earth, and looking for a new home for mankind.

 The film grossed RMB 4.687 billion in mainland China. The film won the Best Film Award at the 27th Huading Awards and the Best Film at the 28th Huading Awards.
 The audience of Wandering Earth covered the old, middle-aged and young groups, with many families bringing their children and elders to the two-hour sci-fi journey, and the fervor and topicality of the film became a unique cultural phenomenon of the Spring Festival that year. As one of the few hard sci-fi films in China, Wandering Earth has touched hundreds of millions of viewers and won a good reputation and well received. Upon its release, the film was praised by netizens as ‘opening the door for Chinese science fiction films’, and 2019 was called ‘the first year of Chinese science fiction films’.
 First of all, the values and way of thinking presented in this film are very ‘Chinese’. From the spiritual level, in the film's grandiose story setting, sky-breaking imagination and stirring narrative, people can see the Chinese worldview, Chinese way of thinking, Chinese behavioral logic. Whether it is the sacrifice, forbearance, giving up personal interests for the sake of the overall situation, or the insistence on family ties, the courage to live to the death; whether it is the attachment and cherish for the homeland and native land, the persistence of the Foolish Old Man to move the mountain, or the father-son relationship in the film because of the lack of communication and estrangement, there are a lot of projections of the reality. From the material level, some props details are inspired by traditional Chinese culture, for example, the core of the key engine looks like a reference to the design of the ancient geodesic instrument, and the space station looks like a reference to the ancient timepiece sundial, which will make the Chinese audience feel incredibly amiable when they see it, achieving a great aesthetic fit.
 However, the development of an industry is not always smooth sailing. On 9 August of the same year, the sci-fi film Shanghai Fortress, directed by Teng Huatao and written by Jiang Nan and Han Jinglong, starring Lu Han and Shu Qi, and Shi Liang, Gao Yixiang, Wang Gongliang, Wang Sen, and Sun Jialing, was released in China.

The film is based on Jiang Nan's novel of and tells the story of a futuristic world where alien dark forces raid the Earth and Jiang Yang follows female commander Lin Lan into the Shanghai Fortress to become a commanding officer and meet the alien invaders with the Greyhawk Squad.

 The film cost 360 million RMB to invest, but ended up grossing only 120 million RMB in mainland China. The film's failure was a huge disappointment to many Chinese sci-fi fans, who jokingly claimed that ‘the door to Chinese sci-fi cinema that was just opened by Wandering Earth was closed again by Shanghai Fortress’.

Content is the soul of a science fiction film. The essence of sci-fi film lies in the setting of its sci-fi concept and its unique worldview structure. The technical level can't surpass Hollywood for the moment, the story level can be a breakthrough. The best tools and means are to serve the details and contents in the imagination of the creative team better and more freely, after all, the plot is the core of the film. China's science fiction film has a lot of room to rise, but there are still many problems, first of all, the creative link is too weak.

 In China, professional science fiction screenwriters are a rarer species than science fiction novelists. Sci-fi films need mature genre screenwriters to complete the conversion from literature to script. Without executable screenplays, it is even more reckless to talk about executable film projects. The fact that ‘Wandering Earth’ had a team of seven people working together through screenwriting software also exposes the scarcity of comprehensive sci-fi screenwriters in China. Some film creators tend to fall into a logical misunderstanding, thinking that making Chinese sci-fi films means imitating Hollywood blockbusters, only playing with sci-fi stems that foreign films have played, and burning money to shoot ‘big scenes’. The worldview is fragmented and culturally unorthodox. When Teng Huatao, the director of Shanghai Fortress, talked about the creative process, he would emphasize how difficult it is to do visual effects, how difficult it is to design spaceships, aliens and confrontation scenes, but he neglected the reasonableness of the script's logic and empathy with the audience. It is a creative inversion for a director to copy a story for a sci-fi film instead of letting the special effects and technology serve the plot. In contrast, the success of Wandering Earth lies in telling a local sci-fi story with a Chinese cultural core. While Western sci-fi films promote individual heroism and emphasize the pioneering and adventurous spirit, Wandering Earth expresses a passionate love for the homeland and an obsession with home, and follows the narrative style favored by the Chinese in terms of emotional expression.
 In the years that followed, China's sci-fi cinema has been evolving, with varying quality, good and bad, from hardcore sci-fi blockbusters such as Wandering Earth 2, which was both a hit and a miss, to sci-fi comedies with mixed success, such as Lone Moon, and infamously bad films such as Bureau 749.

 中国科幻电影
 要说中国的科幻电影，那么就不得不提《流浪地球》了。
 《流浪地球》是由中国电影股份有限公司出品，郭帆执导，龚格尔、严东旭、郭帆编剧，吴京特别出演，屈楚萧、李光洁、吴孟达、赵今麦等领衔主演的科幻电影，该片于2019年2月5日在中国内地上映。
 该片根据刘慈欣的同名小说改编，故事背景设定在2075年，讲述了太阳即将毁灭，毁灭之后的太阳系已经不适合人类生存，而面对绝境，人类将开启“流浪地球”计划，试图带着地球一起逃离太阳系，寻找人类新家园的故事。
 该片在中国内地最终票房为46.87亿人民币。该片获得第27届华鼎奖最佳影片奖、第28届华鼎奖最佳影片。
 《流浪地球》的观众人群覆盖了老中青群体，很多家庭扶老携幼共赴两个多小时的科幻之旅，其所带动的观影热潮与话题性成为当年春节独特的文化现象。作为中国为数不多的硬科幻电影，《流浪地球》打动亿万观众，赢得口碑与票房双赢。这部电影一经上映，就被广大网友称赞“为中国科幻电影打开了大门”，2019年则被称为“中国科幻电影元年”。

首先，这个电影呈现的价值观与思维方式很“中国”。从精神层面来说，在影片宏大的故事设定、突破天际的想象和荡气回肠的叙事下，人们能看到中国人的世界观、中国人的思维方式、中国人的行为逻辑。无论是牺牲、忍让、顾全大局舍弃个人利益，还是执着的亲情纽带、向死而生的勇气；无论是对家园故土的眷恋和珍视，愚公移山一般的执着，还是影片中因为缺乏交流沟通而疏离的父子关系，都有很多现实中的投影。从物质层面来说，一些道具细节的设计灵感来源于中国传统文化，比如关键性发动机的核心样貌参考了古代地动仪的设计，太空空间站的样貌则参考了古代计时器日晷，当中国观众看到时就会觉得无比亲切，达到极大的审美契合。

 然而，一个行业发展并不是一帆风顺的。同年8月9日，由滕华涛执导，江南、韩景龙编剧，鹿晗、舒淇领衔主演，石凉、高以翔、王宫良、王森、孙嘉灵主演的科幻电影《上海堡垒》在中国上映。
 该片是根据江南同名小说改编而成，讲述了未来世界外星黑暗势力突袭地球，江洋追随女指挥官林澜进入上海堡垒成为一名指挥员，与灰鹰小队一起迎战外星侵略者的故事。
 该片的投资成本为3.6亿，但在中国内地最终票房仅为1.2亿人民币。这部电影的失败让许多中国的科幻迷大失所望，戏称“《流浪地球》刚打开的中国科幻电影的大门又被《上海堡垒》关上了”。
 内容是科幻片的灵魂科幻片的精髓在于其科幻概念的设定以及独特的世界观架构。技术层面暂时超越不了好莱坞，故事层面可以是一个突破口。再好的工具和手段，都是为了更好、更自由地服务创作团队想象中的细节和内容，毕竟，剧情才是电影核心。 中国科幻电影的上升空间很大，但目前问题还是很多，首先创意环节就太薄弱。

在国内，专业的科幻编剧是比科幻小说家更稀有的物种。科幻电影需要有成熟的类型片编剧完成从文学到剧本的转换。没有可执行的剧本，就更罔论可执行的电影项目。《流浪地球》有7人团队通过编剧软件分工协作，也从侧面暴露出国内综合性科幻编剧的稀缺性。 一些电影创作者容易陷入逻辑误区，认为拍中国科幻电影就是模仿拍好莱坞大片，只会玩外国电影玩过的科幻梗，烧钱拍“大场面”。在世界观的设定上稀碎，在文化上又不伦不类。《上海堡垒》的导演滕华涛谈及创作过程时，会强调视觉特效有多难做，飞船、外星人、对抗场景有多难设计，反而忽略了剧本逻辑的合理性以及与观众的共情。导演为了拍科幻片去生搬硬套一个故事，而不是让特效和技术为剧情服务，这本就是一种创作倒置。相比之下，《流浪地球》的成功之处就在于讲好了一个中国文化内核的本土科幻故事。当西方科幻片推崇个人英雄主义，强调开疆拓土和冒险精神时，《流浪地球》表达了对故土的热恋，对家的执着，在情感表达上沿用中国人喜欢的叙事方式。

 之后的几年，中国的科幻电影一直在发展，质量参差不齐，时好时坏，既有《流浪地球2》这样叫好又叫座的硬核科幻大片，又有好坏参半的科幻喜剧片《独行月球》，也有像《749局》这样臭名昭著的烂片。