Stephen Chow's Movie Magic: 'Kung Fu Women's Soccer' Tops 1.4 Billion Yuan in Nine Days

During the 2026 summer season, "Kung Fu Women's Soccer," directed by Stephen Chow, has swept mainland China's big screens. According to the latest data from Beacon (Dengta) Pro, as of July 19 the film had grossed more than 1.459 billion yuan (RMB, hereafter the same) including presales, in just nine days of release. Regarded as a spiritual sequel to "Shaolin Soccer" 25 years on, the film not only carries forward the classic DNA of Chow's comedy but also places female empowerment at the heart of its narrative. Striking a powerful chord with the current era, it has sparked another wave of "Chow" fever and surged into the top three of the 2026 box-office chart.

Racing to Third for the Year: 1.3 Billion in Nine Days Makes It the Summer's Dark Horse

"Kung Fu Women's Soccer" opened officially on July 11, taking in 260 million yuan on its first day — the biggest opening since this year's Spring Festival season. According to Maoyan Pro data, as of July 19 the film had earned more than 1.459 billion yuan (including presales) in just nine days, successfully entering the top three of the 2026 box-office chart, trailing only "Pegasus 3" and "A Love Letter to Grandma." The latest projections put its total gross at more than 3 billion yuan.

As of 11 p.m. on July 19, "Kung Fu Women's Soccer" had grossed more than 1.459 billion yuan (including presales) in just nine days of release, successfully entering the top three of the 2026 box-office chart. (Source: Beacon Pro)

"Kung Fu Women's Soccer" tells the story of a grassroots women's soccer team, the "Emei Team," staging an underdog comeback to win the championship. The film stars Zhang Xiaofei, Dilraba Dilmurat and Zhang Yixing (Lay), with former national women's team players such as Zhao Lina and Li Jiayue joining the cast — a lineup that combines star power with athletic authenticity. With its distinctive story and strong ensemble, the film quickly drew attention at the box office. It showcases not only the competitive appeal of women's soccer but also, through its nuanced emotional portrayal, conveys the power of perseverance and unity.

Every character in the film is vivid and distinctive, and the stellar performances of the leads in particular have won enthusiastic responses from audiences. Whether in the intense match sequences or the deep bonds between characters, viewers have felt a strong sense of resonance. As one critic put it: "This is a film that gets your blood pumping — it makes you laugh, and it also brings you to tears."

The film currently holds a Douban score of 6.5, with many viewers sharing their experiences on social media, describing it as "exhilarating" and "laughter through tears." Related merchandise and events have followed suit, generating a lasting buzz.

Even more exciting for fans, Stephen Chow revealed sequel plans during a promotional tour. Responding to a question from a young fan, he announced that "Kung Fu Women's Soccer 2" has entered the early planning stage, and disclosed its core direction: "The Emei Team's goal is to beat the whole world. Right now they've only beaten half of it — the other half is still to be crushed in the future."

The Rise of Female Power: Precisely Capturing the Mood of the Times

In its approach, "Kung Fu Women's Soccer" cleverly combines traditional martial arts with competitive soccer. This is not the first time Chow has used the formula. In 2001, "Shaolin Soccer" focused on the struggles of grassroots men and drew an enthusiastic response on release. According to Baidu Baike and related reports, the film grossed US$42.776 million worldwide (about HK$330 million), including HK$60.73 million in Hong Kong, topping the city's annual box office that year. It also swept the 21st Hong Kong Film Awards in 2002, winning Best Film, Best Director, Best Actor and other honors. The film marked Chow's first real breakthrough into the mainland market and is seen as a dazzling flash of light on the eve of Hong Kong cinema's decline.

Twenty-five years later, "Kung Fu Women's Soccer" pivots precisely toward the era's wave of rising female empowerment. The film assembles some of China's top-tier actresses today, including Zhang Xiaofei, Dilraba Dilmurat and Zhang Yixing, along with former national women's team players such as Zhao Lina and Li Jiayue. The pulling power of star talent combined with the authentic feel of professional athletes is what sets this film apart from typical commercial fare.

Asked why he had returned to the soccer subject after 25 years, Chow said: "Because there are still many audiences who want to see stories of ordinary people chasing their dreams — and even more because the women of the national soccer team deserve to be seen by more people."

In today's society, the rise of women across all fields has become an undeniable trend. This film precisely captures the mood of the era, conveying the power of perseverance and unity through its delicate emotional portrayal. As one critic remarked: "This is a film that gets your blood pumping — it makes you laugh, and it also brings you to tears." From the intense match sequences to the deep bonds between characters, the film successfully lets audiences feel, amid laughter and tears, the courage and resilience of women pursuing their dreams. This is not only a box-office success but also a profound showcase of female power.

Stephen Chow's Movie Magic: The Deep Convergence of Hong Kong Filmmakers and the Mainland Market

From "Shaolin Soccer" to "Kung Fu Women's Soccer," across 25 years in the industry, Stephen Chow is still writing box-office legends for Chinese-language comedy.

With the new film's success, the ranking of Chow's directorial works at the mainland box office has been refreshed once again: "The Mermaid" holds the top spot with 3.392 billion yuan, followed by "Journey to the West: Conquering the Demons" with 1.247 billion yuan and "The New King of Comedy" with 628 million yuan. Within a week of release, "Kung Fu Women's Soccer" has broken into the top three. Chow's cumulative mainland box office as a solo director has surpassed 6.7 billion yuan, and with worldwide takings included, his total is poised to challenge the 7 billion yuan mark.

From "Shaolin Soccer" in 2001 to "Kung Fu Women's Soccer" in 2026, Stephen Chow has taken 25 years to score a "screamer" that spans the eras of Chinese-language cinema. Although the two films are separated by a quarter of a century, their box-office figures have climbed steadily — "Shaolin Soccer" earned about 60 million yuan in the mainland back then, while "Kung Fu Women's Soccer" took in 1.376 billion yuan in just nine days. This is no accident.

On one hand, the revival of Chow's classic style has sparked a craze: "Shaolin Soccer" pioneered the "martial arts plus soccer" mashup concept, igniting audiences with its underdog comeback story. Even 25 years on, the idea has never gone out of date; if anything, the arrival of "Kung Fu Women's Soccer" has given it new life thanks to shifting aesthetic tastes — audiences are more receptive to genre films and have an even stronger appetite for both thrills and laughs. On the other hand, there is the profit model born of the deep integration between Hong Kong filmmakers and the mainland market. From Hong Kong's return to the motherland in 1997 laying the "right timing," to the signing of CEPA in 2003 opening up "geographic advantage," to the development of the Guangdong-Hong Kong-Macao Greater Bay Area providing "human harmony," these three milestones sketch an evolutionary path from one-way export to mutual empowerment. In the 29 years since the handover, as more and more Hong Kong filmmakers have integrated into mainland culture, they have realized greater artistic possibilities in the mainland market.

The grafting of Hong Kong-style commercial genres onto mainland mainstream narratives has made "critically and commercially successful" a reality. The mature industrial techniques of Hong Kong filmmakers and the development of the mainland film industry are moving from one-way transmission to interactive integration, joining forces to help Chinese cinema make a stronger push onto the international stage. (End)

Source: Hong Kong China News Agency — https://www.hkcna.hk/h5/docDetail.jsp?id=101373997&channel=2808