BEIJING, July 26 (Xinhua) -- A beloved Chinese legend is captivating a new generation of moviegoers. Animated feature "All Wishes Come True!" has become one of this summer's biggest hits, reimagining the ancient Taoist myth of the Eight Immortals through an original coming-of-age adventure.

Rooted in the classic Taoist tale of the Eight Immortals crossing the sea, the film departs from tradition. Rather than depicting all-powerful deities, it envisions them as ordinary mortals before their ascension. In the reimagined Penglai fairyland, celestial beings are assigned temples, ranked by incense offerings, and evaluated by KPIs.

The narrative ignites when the mortal world faces impending catastrophe. Lyu Dongbin journeys to Penglai, where eight unlikely companions are united by a scheme to impersonate immortals and infiltrate a treasure vault.

Far from their celebrated folklore counterparts, these protagonists are portrayed with imperfections. Yet, confronted by chaos and innocent lives in peril, they gradually elevate justice over self-interest, ultimately saving the populace and earning their immortality.

Director and screenwriter Mou Zhengyang explained that redefining these figures as youthful, imperfect mortals rather than omnipotent gods was a deliberate choice to forge a deeper emotional connection with audiences.

He believes true immortality in the film stems not from supernatural powers, but from inner transformation, personal growth, and the awakening of responsibility.

Such a subversive narrative has resonated profoundly with domestic viewers. The film grossed 400 million yuan (about 58.88 million U.S. dollars) within five days of release on July 18 and secured an opening score of 8.3 out of 10 on the review platform Douban. By Sunday morning, the film brought in 668 million yuan in box office revenue, according to film data platform Maoyan.

This subversive take has also sparked lively discussions online. On Douban, a netizen under the username "Zhipang" drew a compelling parallel to the Marvel Cinematic Universe, noting that the film's mythological world is as expansive as the Avengers' franchise.

Song Lei from the China Animation Comic Game Group praised the film's modern innovation. By reimagining Penglai as a workplace bureaucracy, the story transforms a timeless legend into a light comedy about treasure hunting and self-discovery, lending ancient folklore fresh contemporary resonance, he said.

Market data reveals that the film has performed exceptionally well in smaller cities and counties, and its demographic profile is remarkably comprehensive.

Weng Yang, an associate professor at Beijing Film Academy, attributed this broad appeal to the film's innovative cross-border marketing. She noted that offering blind boxes during ticket purchases and showcasing local intangible cultural heritage crafts successfully achieved a cultural crossover.

Visually, the feature seamlessly blends authentic Eastern aesthetics with modern animation technology. Producer Cao Linlin noted that the crew conducted extensive field research across cultural landmarks nationwide, including Shanxi's Yongle Palace and Sichuan's Qingcheng Mountain.

The animation incorporates ancient mural-inspired fish-drawn chariots, and draws color palettes from traditional Chinese New Year paintings and folk art to showcase the unique charm of Chinese culture to global audiences.

Additionally, abundant local cultural cues embedded in the film highlight its Sichuan origins. As the birthplace of the film, Chengdu Hi-tech Industrial Development Zone is a leading hub for China's digital cultural and creative industries. It is also the cradle of global hits like the Ne Zha film franchise and the Honor of Kings game, now hosting over 6,000 digital cultural enterprises.

Scaling up to the provincial level, Sichuan's core digital cultural and creative industry revenue reached 413.97 billion yuan in 2025. Cementing its position in the national first tier, the province has formed a multi-track industrial landscape spanning Chinese-style animation, gaming and esports, and creative design.

Experts argue that Sichuan's support for the audiovisual industry goes far beyond hosting projects and producing content, fostering a profound integration between urban culture and the creative industries.

Industry insiders attribute the film's success to the maturation of China's animation sector. Fueled by a decade of folklore-themed hits, the domestic market and original cultural IP system have grown increasingly sophisticated.

Scheduled for an August overseas rollout, the film will screen in Australia, New Zealand, North America, the U.K., and several other European countries.

Mou asserts that technology is no longer a barrier for Chinese animation. The gap between Chinese and Western animation has evolved into a distinction in cultural expression.

"We share similar narrative logic but possess unique cultural expressions," he noted. "Only local creators can tell authentic Chinese stories well." ■