2025年11月17日，微博上出現多個關於日本電影撤檔的熱門話題，包括「部分日本電影撤檔」、「日本電影」、「蠟筆小新撤檔」等，其中「部分日本電影撤檔」更一度衝上微博主榜第二位，引發廣泛關注。消息指出，原定近期在中國大陸上映的多部日本影片將暫緩上映，其中包括《蠟筆小新：灼熱的春日部舞者們》和《工作细胞》，兩部影片原本分別定檔於12月6日與11月22日。

據悉，受影響的不僅是上述影片，還包括《初吻》和《昨日青春》（原定於12月5日上映），以及已確認引進中國內地但尚未定檔的影片，如《8號出口》、《復仇公主斯嘉麗》和《名偵探柯南：計時引爆摩天樓》等。更有消息稱，正在熱映的《鬼滅之刃：無限城篇 第一章 猗窩座再襲》在第二階段密鑰到期（11月20日）後，也可能面臨暫停上映的情況。

對於日本影片當前的處境，有博主爆料稱：「沒送審的，不讓送了；送審的退回了；過審的停止報檔期；定檔的自己寫撤檔申請；預售的開始退票……」由此可見，日本影片及相關公司在中國市場將面臨巨大的經濟損失與不確定性。

以《鬼滅之刃》劇場版為例，作為趕在「末班車」上映的影片，其在中國內地上映僅四天，票房已達3.91億元人民幣，燈塔專業版顯示預測總票房可達5.79億元。如果該片真的提前下映，不僅《鬼滅之刃》的票房神話將中斷，也可能對日本電影在中國的發行、市場運作，以及日本IP的授權與衍生品行業造成衝擊，帶來更廣泛的行業不確定性。

整體而言，多部日本影片撤檔事件反映出當前中國大陸影視市場對進口影片的審查與排片政策存在變動，對觀眾觀影習慣、票房收入以及整體日本影視IP的市場布局均將帶來深遠影響。

On November 17, 2025, multiple topics related to the withdrawal or postponement of Japanese films surged on Weibo, including “Some Japanese films withdrawn,” “Japanese films,” and “Crayon Shin-chan withdrawn,” with the topic “Some Japanese films withdrawn” even reaching the second spot on the platform’s trending list, attracting widespread attention. Reports indicated that several Japanese films originally scheduled to be released in mainland China would be temporarily postponed, including Crayon Shin-chan: The Blazing Springtime in Kasukabe and Cells at Work, which were initially set to premiere on December 6 and November 22, respectively.

The affected titles reportedly extend beyond these films, encompassing First Kiss and Yesterday Youth (both originally scheduled for December 5), as well as films confirmed for mainland China distribution but not yet scheduled, such as Exit 8, Revenge Princess Scarlett, and Detective Conan: Countdown to Sky High Explosion. Additionally, the currently screening Demon Slayer: Infinity Castle Chapter 1 – The Return of Akaza may also face temporary suspension after its second-phase screening license expires on November 20.

Regarding the current situation for Japanese films, some social media users have shared insider information, stating: “Films not submitted for review are blocked; those submitted are returned; approved films are stopped from reporting schedules; scheduled films are filing withdrawal requests themselves; pre-sold tickets are being refunded…” This suggests that Japanese films and their associated companies face significant financial losses and uncertainty in the Chinese market.

For example, Demon Slayer had been released just four days in mainland China as a “last-minute” release, earning RMB 391 million in box office revenue, with projections from the Lighthouse Professional version estimating a total box office of RMB 579 million. If the film is forced to end its run early, its box office success will be cut short, and the repercussions could extend beyond this title. The distribution of Japanese films in China, as well as the broader Japanese IP market—including licensing and derivative products—may face substantial disruption and uncertainty.

Overall, the withdrawal of multiple Japanese films highlights the shifting policies regarding imported films in the Chinese market. It has significant implications not only for audience viewing habits and box office revenue but also for the overall strategic layout and commercial prospects of Japanese film IPs in China.