Warcraft could be considered a textbook example. It grossed $432 million worldwide, yet it only pulled in a mere $47 million from the U.S. domestic market. In contrast, the Eastern market contributed 1.47 billion RMB—accounting for the majority of the total box office revenue.
There were also other films like xXx: Return of Xander Cage, Transformers: The Last Knight, and Resident Evil: The Final Chapter, all of which earned close to half their global revenue from the East.
Clearly, the potential of the Eastern market was staggering.
No need to look too far back—just take last year's Avatar re-release, which brought in an extra $300 million compared to the original. While not all of that revenue came from the East, the vast majority certainly did.
Some say the East "rescued" Hollywood flops. Others, adopting a condescending tone, mocked Eastern audiences for their "poor taste" in films—just like how city folks once looked down on country bumpkins.
True, when it comes to cinema, the East is still relatively new to the game. But to claim that the only reason for their viewing habits is ignorance? That's not only laughable—it reeks of arrogance.
The real reasons aren't hard to understand.
Starting late means that things others have long grown used to can still feel fresh. It's like the early days of online web fiction. When "trash-to-treasure" tropes first appeared, people loved the thrill of underdog revenge stories. But after reading hundreds of those novels—whether they're rebirth stories, time travel, or originals—they all start to feel the same: a loser protagonist, a broken engagement, and a wise old man in their pocket.
Even the best tropes, when used over and over, eventually grow stale. But for new readers, encountering them for the first time still feels exciting.
It's the same with movies. Hollywood's grand spectacles and flashy effects appeal to Eastern audiences precisely because they're still new and exciting to them. Meanwhile, Western audiences, who have been watching the same formulas for decades across thousands of films, are understandably more jaded.
But it's not just about novelty—there's also a difference in cultural background and aesthetic preferences.
Take beauty standards, for example. Some women who are considered stunning in the West might not be seen that way in the East. Similarly, a film that Western viewers interpret through their own cultural lens might be viewed very differently by Eastern audiences.
A good example would be Christopher Nolan's Dunkirk, released in 2017. Western viewers saw it as powerful, human, and even likened it to their own version of the "Long March." But Eastern audiences saw something completely different: a story about retreating, abandoning allies and comrades without firing a shot—a shameful display of cowardice.
That's the difference in culture, background, and perspective.
But have Western audiences really grown tired of big-budget, effects-heavy films?
Just look at the record-breaking box office numbers of The Avengers. The entire world loved it—including North America!
People couldn't get enough of it—East or West, glowing reviews flooded in nonstop.
Positive word-of-mouth brought more people into theaters, and those who watched it spread the hype to even more people, sparking curiosity and drawing in a whole new wave of viewers.
So it's not that Westerners are tired of big productions—they just haven't seen enough good ones lately.
When The Avengers surpassed $1.5 billion at the global box office while still maintaining incredibly high occupancy rates, the media could no longer stay quiet.
Sure, Laila had directed films that crossed the $1.5 billion mark before—some even higher. But this time, it wasn't just the total gross that was impressive—it was the momentum.
Most films that reach such lofty numbers are already nearing the end of their run. But The Avengers was different. Even after earning that much, its box office was still climbing steadily. It seemed like overtaking the Titanic was just a matter of time.
So what fueled this unstoppable success?
Critics rushed to share their analyses.
Some believed Laila's massive investment in promotional campaigns played a huge role.
Others thought it came down to perfect timing. Though public opinion had been stacked against her at one point, all that controversy gave her movie sky-high visibility before it was even filmed. Whether it was a strategic move to turn criticism into marketing or just good luck, that publicity undeniably generated enormous anticipation.
More objective critics offered deeper film-based insights:
"First of all, the casting. Director Moran has never let audiences down in this area. The actors she picks always bring a refreshing surprise. Watching them perform, it's impossible to imagine anyone else in those roles—they just fit."
"Then there's her directing. Moran's directing style is beyond reproach. Throughout the film, she uses creatively fresh perspectives to tell the story. It's as if she has a supernatural ability to find the perfect way to shoot each scene. In her eyes, both the actors and the story hold secrets only she can unveil—and she captures those secrets on camera for the world to see."
"Personally, I think the script was a major factor. The pacing was razor-sharp. During the film's over two-hour runtime, not a single moment felt draggy. Audiences couldn't tear their eyes away from the screen. Even blinking might make you miss something critical—not because key moments flash by, but because every frame is compelling."
Of course, not all reviews were glowing. There were a few more negative takes—but Laila paid them no mind.
With so many articles praising her, why would she waste time reading the ones that dragged her down? At best, she'd glance at them for a laugh—but she was far too busy for that now.
Laila truly was busy these days. Even though the film had been out for quite some time, she was still traveling the world to continue promoting it—keeping the buzz alive. Her identity, her status in Hollywood, and her influence in cinematic history meant she was enthusiastically welcomed no matter where she went.
At times, the fan enthusiasm even took her by surprise. The West was expected—but the passion from fans in several Asian countries caught her off guard, in a delightful way.
As she made her way through key box office countries in the East, the media began to notice a trend: wherever Laila appeared, the local ticket sales would spike—sometimes by nearly 90 degrees.
What's more remarkable was that the boost wasn't just a flash in the pan—it lasted for a week or two, continuing to drive sales long after she left.