‘Letter to Grandma’ Hits 1.2 Billion Yuan, 2026’s Top Film Surprise
A low-budget Chaoshan (Teochew)-dialect film with no star power and virtually no marketing budget has become the cinematic phenomenon of 2026 in China. “Letter to Grandma” (Chinese: 给阿嬷的情书, English title: “Dear You”) has surpassed 1.2 billion yuan (approximately US$166 million) at the Chinese box office as of May 31, ranking among the top four films of the year, according to CCTV News.
A Word-of-Mouth Triumph
Directed by Lan Hongchun (蓝鸿春) and produced on a budget of just over 10 million yuan (US$1.4 million), the film opened on April 30 with a mere 1.6% screening share — barely visible on cinema schedules. Its opening day grossed only 3.77 million yuan. But from May 2, social media platforms erupted with audience recommendations, and the film’s trajectory shifted dramatically.
By May 12, its screening share had risen to 22.3% with a staggering 63.7% daily box office share. The film has held the daily box office champion position for 18 consecutive days, as reported by NetEase. Its extended run has been confirmed through June 30.
“Letter to Grandma” has outperformed major May Day holiday releases including the crime thriller “Vanishing Point” (410 million yuan) and the Hong Kong franchise entry “Cold War 1994” (273 million yuan), according to Xinhua News Agency.
A Story Spanning a Century
The film tells the story of a grandson who travels to Thailand carrying letters his grandmother has treasured for decades, only to discover that the “grandfather” who corresponded with her for half a lifetime had long since passed away. For years, a stranger had been sending letters and remittances on his behalf.
At the heart of the narrative lies “qiaopi” (侨批) — the letters and remittance slips sent home by overseas Chinese to their families. In the Chaoshan dialect, “批” (pi) means “letter.” These documents served a dual purpose: they carried personal news and sent money to support families back home. In 2013, the qiaopi archives were inscribed on UNESCO’s Memory of the World Register.
“Over 90% of the details and plot points in this film have real-life prototypes,” director Lan Hongchun told Sina Finance. “Since we chose to deeply cultivate Chaoshan culture films, we shouldn’t be half-hearted about doing other things — like livestreaming or short videos, going wherever the money is. I think that’s not good.”
Authenticity Over Star Power
The film features an entirely amateur cast, all Chaoshan natives who speak the dialect natively. Lead actress Li Sitong (李思潼), then a 20-year-old sophomore at a Guangzhou university, had a grandfather who emigrated to Thailand in the 1950s. Lead actor Wang Yantong (王彦桐), 23, spent three months working as a dockworker in Shantou to prepare for his role.
On China’s review platform Douban, the film holds a 9.1 out of 10 rating — one of the highest-rated Chinese films in recent years and among the best-reviewed domestic releases of the past decade.
The Cultural Significance of Qiaopi
The film’s success has sparked a “qiaopi craze” across China. Museums dedicated to these historical documents have seen a surge in visitors. The Shantou Qiaopi Archive Museum alone holds over 92,000 qiaopi documents — the largest collection in China — all of which have been digitized.
“Qiaopi are not cold documents, but living heritage that carries longing, upholds integrity, and engraves family and country — a spiritual mark etched into the blood of overseas Chinese and their families,” Li Yihang of the Guangdong Federation of Social Sciences told Xinhua.
According to the Chaozhou Gazetteer, 40-45% of the Chaoshan population relied on qiaopi remittances for their livelihood. During the War of Resistance Against Japan (1937-1945), overseas Chinese donated approximately 1.3 billion yuan, accounting for over one-third of China’s military expenditure.
International Expansion
The film screened at the 79th Cannes Film Festival market in May under its English title “Dear You.” Planned international releases include Thailand, Malaysia, Singapore, Vietnam, France, and Australia, with distribution targeted through overseas Chaoshan business associations, Chinese-language schools, and diaspora organizations.
Director Lan Hongchun noted that the team spent three years interviewing over 120 elderly Chaoshan emigrants aged 80 and above across Bangkok, Penang, and Ho Chi Minh City. “We’ve been making Chaoshan films for ten years now,” he said. “It feels like we’ve found a great path for self-realization in life. I think we should keep cultivating it deeply.”
What’s Next
With its theatrical run extended through June 30, industry analysts are watching to see how high the box office total will climb. The film’s remarkable success raises broader questions about the future of Chinese cinema: Will this prove to be a turning point for dialect and regional filmmaking? Can the model of authentic, community-driven storytelling be replicated?
For now, “Letter to Grandma” stands as a powerful testament to the enduring appeal of stories rooted in cultural heritage, emotional authenticity, and the universal bonds of family and memory.