China’s May Day box office regained momentum with a clear winner: Vanishing Point opened at No. 1 and gave the holiday frame a strong local anchor.

Reports indicate the suspense thriller earned RMB164.7 million, or about $24.2 million, in its debut weekend. The film comes from Zhonghe Qiancheng and was written and directed by Cheng Wei-hao. Its story centers on the unexplained disappearance of a young boy inside a residential compound, a setup that appears to have connected quickly with moviegoers looking for a tense, high-concept holiday release.

Cold War 1994 also helped power the rebound, while The Devil Wears Prada 2 entered the market in third place. That ranking matters. It suggests local titles held the strongest grip on the holiday audience even as an internationally recognizable franchise arrived with built-in attention.

China’s May Day frame showed renewed energy, but local films set the pace.

Key Facts

  • Vanishing Point ranked No. 1 in China for the May Day weekend.
  • The film earned RMB164.7 million, about $24.2 million, in its opening frame.
  • Cold War 1994 finished among the top performers of the holiday period.
  • The Devil Wears Prada 2 debuted in third place.

The weekend result adds another data point to a familiar pattern in China: holiday periods can revive theatrical traffic fast when the lineup matches local taste. Suspense and crime stories often travel well in the market, and this opening suggests audiences responded to a premise built around mystery, family fear, and a tightly contained setting. At the same time, the third-place start for The Devil Wears Prada 2 shows that imported studio fare can still draw attention, even if it does not always dominate.

The next test will come in the film’s second weekend. If Vanishing Point keeps its lead and holds audience interest, it could turn a strong opening into a durable run and strengthen confidence in the spring release calendar. More broadly, the May Day results matter because they offer an early read on consumer appetite, the balance between local and imported titles, and the kind of stories that currently move China’s theatrical market.