Foreign films in China are generally limited to two import methods: the revenue-sharing method and the buy-out method. The former is mainly preferred by capitalists but has a strict quota, while the latter allows China to keep revenue inside the country for a one-time flat fee.

In addition, producers might attempt a co-production for a higher revenue cut, but there are strict requirements, on top of the films challenging the generally negative reputation against co-production films. Otherwise, it will be downgraded to an assisted production film.

A 'revenue-share film' (分账片, fēnzhàng piàn)¹⁾ is a foreign film where the copyright holder, typically one of the major film studios, allows a distribution agency to screen their film(s) for a contracted revenue split. Usually, the split is among the lines of 35% going towards the producer, 17% to the distributor, and 48% to the theaters.²⁾ Due to capital control and protectionist policies, this has a set limit of 34.

Historically, the limit was originally set to 10 in 1994, then it was raised to 20 in 2002 after China entered the WTO, and the current limit of 34 was set in 2014³⁾ since 14 of these slots are intended to be a 3D or IMAX films.⁴⁾ Despite this, there has been some leniency, pushing the limit as high as 40 in 2017,⁵⁾ though it has since dropped below the quota.⁶⁾

A 'buy-out film' (买断片, mǎiduàn piàn)⁷⁾ is a foreign film whose screening rights are simply bought out by a domestic film company for a relatively low price (e.g. $7 million),⁸⁾ allowing revenue to remain within China. However, these carry a risk since the films are usually more obscure and prone to flopping. On the other hand, there appears to be no hard limits for buy-out films, which has gone as high as 87.⁹⁾

A 'co-production film' (合拍片, hépāi piàn)¹⁰⁾ is a film that involves domestic and foreign producers. In order to qualify, the domestic side must contribute at least one-third of the film, must include some Chinese actors playing the main roles, and must be filmed in China. This would allow producers to earn 43% of their box office revenue, compared to the 25% that they get from importing.^11)12)13)

However, co-production films have had a 'mixed' to 'bad' reputation in China,¹⁴⁾ especially when the Chinese elements can become 'too egregious' at times. This is the category of films that has The Mummy 3,¹⁵⁾ Outcast, Skiptrace, The Great Wall,¹⁶⁾ and the Mulan remake.¹⁷⁾¹⁸⁾ On the other hand, this list of films also include The Karate Kid (2010), Kung Fu Panda 3, and The Meg.¹⁹⁾

An 'assisted production film' (协拍片, xiépāi piàn) is a co-production film that generally does not meet their co-production qualifications. In most cases, the domestic side is simply put in charge of the camerawork, though there has been cases where co-production films were downgraded for failing to qualify, which can either be good or bad depending on your stance on the co-production issue.

• This article was meant to have a translated list of revenue-share films, as the number would've been relatively low and I was hoping that it could help people connect, but I don't think anybody has actually documented the list, so this page ended up being a jumble of notes instead.
  • Prior to 1994, it's known that the 1982 film Rambo: First Blood had released in China in 1985.²⁰⁾ However, it was done by a non-major film studio, so it likely falls under buy-out film instead.
  • The first known revenue-share film was the 1993 film The Fugitive, which had released in China on November 11, 1994, according to various sources.^21)22)23)
• Honestly, this is such a niche subject, that it's kinda funny when Western sources use 'censorship' to explain everything, like: How is this even relevant here? Maybe the movie just fucking sucks?

• Revenue-share film and import buy-out film on Baidu Baike