How a rebellious boy-god came to redefine global animation and cultural diplomacy?

"Ne Zha 2," a groundbreaking Chinese animation film, is rewriting cinematic history, shattering cultural boundaries, and sparking conversations about the rise of non-Hollywood storytelling.

As of March 15, the film has exceeded 15.02 billion yuan (US$2.08 billion) globally and risen to 5th in the all time global box office rankings since its release on January 29 during the Chinese New Year.

It has become the first non-Hollywood film to exceed US$2 billion in global earnings, including presales, according to data from ticketing platform Maoyan.

More than just a box-office success, "Ne Zha 2" blends ancient Chinese mythology with cutting-edge animation to craft a stunning visual and narrative experience that resonates globally.

Picking up where its 2019 predecessor left off, the film reimagines the 16th-century Ming Dynasty (1368-1644) novel "Investiture of the Gods."

The story follows Ne Zha, a rebellious boy-god, and his dragon ally, Ao Bing, who, after surviving a celestial catastrophe, embark on a quest to rebuild their bodies using the mystical Seven-Colored Lotus.

Director Yang Yu (aka Jiaozi) infuses the narrative with Taoist philosophy, particularly the tension between predestination and self-determination.

The film's protagonist, Ao Bing, delivers a powerful line that resonates with audiences: "If there's no path ahead, I'll carve one myself!"

The sentiment, echoed across the globe, has made the character a symbol of defiance and personal agency.

The film's visuals, which draw heavily from China's archeological heritage, are another standout feature.

Production designers used the bronze masks of the ancient Sanxingdui civilization to craft the look of the antagonists.

With over 2,000 visual effect shots, including a 17-minute finale inside the Tianyuan Ding, a shape-shifting cauldron with 800 million polygons, the film combines ancient artistry with modern technology.

Music plays a crucial role in blending tradition with modernity. The composer integrates traditional elements like Dong ethnic water drumming, Mongolian throat singing, and the suona (a traditional Chinese trumpet) to underscore the film's spiritual themes.

For its climactic moments, the film collaborated with the Shanghai Symphony Orchestra, layering these traditional sounds over a 120-piece ensemble.

The highlight is a haunting lullaby sung in the endangered Manchu language by a 78-year-old folk artist, whose voice carries "the weight of centuries," according to Yang.

Ne Zha 2's international release has been an exercise in cultural diplomacy. During its Hollywood premiere at the TCL Chinese Theatre in Los Angeles, the audience erupted in applause as Ne Zha defied the Jade Emperor's decree.

The film has captivated audiences across the globe, from Mumbai to Munich, and from Sydney to Cairo. "The themes of rebellion and self-definition transcend language," said Sheila Sofian, a member of the Academy of Motion Picture Arts and Sciences.

Yang attributes the film's universal appeal to its unwavering commitment to Chinese cultural specificity.

A key example is the redesign of Taiyi Zhenren, Ne Zha's mentor, who was reimagined as a Taoist zhenren (perfected person) rather than a Western-style Gandalf-like wizard.

"Hollywood heroes often seek to conquer their worlds," Yang said. "Taiyi teaches Ne Zha to harmonize with his. That's a fundamentally Eastern worldview."

The film's success has sparked discussions about the changing dynamics of the global film industry.

"Who needs Hollywood? Chinese audiences are choosing domestic movies over Hollywood blockbusters," The New York Times said in its latest report on the film.

As director Yang summed up, "The world is ready for myths that defy borders."