DgcityThe crime drama Traces of Justice climbed back to first place at the Chinese box office over the November 6 to 8 weekend, taking in 21.5 million yuan, or about $3.2 million, across the three days. The rebound lifts the film’s cumulative gross to $103.7 million since its release on October 1.
Directed by Chen Sicheng, best known for the blockbuster Detective Chinatown series, the film follows an elite police detective across a sprawling investigation that stretches over decades. Its cast includes Zhang Yi, Ma Li, and Chen Minghao, with younger stars Karry Wang, Fan Chengcheng, and Chen Feiyu in supporting roles. The plot is built around real criminal cases, which has helped sustain word of mouth more than a month into its run.
New releases filled the rest of the top ranks. The road drama Embers, which opened on Saturday, earned $2.1 million in its first two days. Starring Song Jia as a crematorium worker who accidentally switches two sets of ashes, the film pairs her with Vicky Chen as the two set off across the country to sort out the mistake, with Zu Feng also among the cast.
The Coffin Swap, a rural black comedy adapted from a 2014 indie mystery, opened in fourth with $1.7 million over two days, led by Jiang Wu. The body-swap comedy Mr. and Mrs. Pardon added $1.4 million in its sixth weekend, bringing its total to $61.3 million. A Hollywood horror reboot also featured in the upper tier as the market moved deeper into the autumn season.
The weekend numbers reflect a domestic market still leaning on established local titles rather than fresh breakouts. Long-running, conversation-driven releases have repeatedly returned to the top spot this fall as audiences reward films that keep generating discussion weeks after their premiere.
For studios and distributors, the staying power of a procedural like Traces of Justice matters beyond a single weekend. Reliable holdovers can anchor a schedule crowded with risky new releases, especially late in the year when award campaigns begin and audiences grow pickier. Its run also confirms the drawing power of Zhang Yi, whose restrained performances have anchored several of the decade’s biggest dramas, and of Chen’s ability to move from broad comedy to sober material.
