Can a state-sponsored propaganda film become a record-breaking commercial blockbuster in modern China?

Entertainment · Published 3 October 2026 · Updated 25 October 2026 Swipe more like this →

In short: The 2009 historical drama The Founding of a Republic attempted to bridge the gap between ideological messaging and market-driven cinema. By casting A-list celebrities and adopting Hollywood-style production techniques, the film transformed how the Chinese Communist Party presents its history, sparking intense debate over the nature of modern propaganda.

Produced to commemorate the 60th anniversary of the People's Republic of China, The Founding of a Republic depicts the final years of the Chinese Communist Revolution. Directed by Huang Jianxin and Han Sanping, the film was a deliberate effort to modernize the zhuxuanlu—or propaganda—genre. By recruiting a massive ensemble of famous actors, including Jackie Chan and Jet Li, the producers sought to attract younger audiences who might otherwise ignore traditional state-sanctioned narratives. This strategy proved highly effective, as the film earned 420 million yuan, briefly becoming the highest-grossing Chinese-made film in history.

The film’s approach to history was notably more nuanced than previous state media. Rather than relying on rigid 'good versus evil' tropes, the narrative humanized figures like Chiang Kai-shek and emphasized the contingencies of war. This shift was intended to make the film more relatable and sophisticated, reflecting a broader evolution in how political cinema operates in post-reform China. Producers explicitly aimed to blend mainstream ideology with commercial methods, positioning the work as both a political tool and a marketable product.

Despite its commercial success, the film faced significant controversy. Critics questioned the irony of using foreign-national actors in a project defined by nationalist themes, while others argued that the film offered a distorted, revisionist version of history. The debate became so polarized that the rating site Douban eventually disabled user reviews for the film and its sequels. For some, the project represents a milestone where the line between state propaganda and commercial entertainment has become effectively indistinguishable, highlighting the limits of Party-guided historical storytelling in the modern era.

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