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Low-budget ‘Niu Lai’ emerges as a surprise hit with its ‘disaster-level’ animation, grabbing millions in China as curiosity rivals Nolan’s ‘The Odyssey’_我的网站

少年四大名捕

一 | New Delhi, Oct 13 (UNI) A two-judge bench of the Supreme Court on Thursday delivered a split verdict in the Hijab ban case, and referred the matter to the Chief Justice's (CJI) court for his direction to constitute a larger bench to decide the issue.

The bench of Justices Hemant Gupta and Sudhanshu Dhulia delivered the verdict on a batch of appeals against the Karnataka High Court judgment upholding the hijab ban in educational institutions.

"We have divergent of opinion, I have framed 11 questions on the issue," Justice Hemant Gupta who led the bench said in hiss verdict.

While dismissing the batch of appeals filed by many students, Justice Gupta affirmed the high court's order on the hijab ban and said, "the matter be sent to the CJI for constituting a larger bench to hear the case."

The two-judge bench on September 26, had reserved its order, after hearing from all the parties -- 23 petitioners, their lawyers, and the Karnataka government for a marathon 10 days.

The apex court pronounced the verdict on 23 petitions, including that of, Aishat Shifa, and others.

The state government has argued in the Supreme Court that it had the authority to issue an order to educational institutions to follow the discipline of wearing the prescribed school uniforms.

Senior advocate Dushyant Dave, appearing for the students/ petitioners, argued that fundamental rights, freedom to choose to what to wear and freedom of faith would not diminish inside a classroom.

The lawyers for the students -- Devadatt Kamat, Dr Rajeev Dhavan amd Dishyant Dave -- submitted in the top court that the Karnataka State government had not presented even a single shred of evidence to support their claim that a few students wearing hijab to their classrooms in addition to their respective uniforms violated public order, health and morality.

The lawyers further said that the Karnataka government had not provide any material to support their claim that wearing hijab infringed on the fundamental rights of other students.

A Full Bench of the Karnataka High Court comprising Chief Justice Ritu Raj Awasthi, Justice Krishna Dixit and Justice J M Khazi, in their judgement on March 15, this year, held that wearing of hijab by women was not an essential religious practice of Islam.

The high courts's three-judge bench, had dismissed the petitions filed by a group of Muslim girl students against PU government college for denying them entry while wearing Hijab.

The led by Chief Justice Awasthi dismissed the petition stating that the practice of hijab is not an essential practice under islam and thus does not fall within the ambit of Article 25 of the Constitution of India.

The High court had also held that prescription of school uniform is only a reasonable restriction which is constitutionally permissible which the students cannot object to and stated that the government had the power to issue such notification and that no case was made out against the government notification.

UNI SM ING。

二 |

Photo: Screenshot from website

While Christopher Nolan's The Odyssey and a string of high-profile domestic and international releases compete for audiences in China's fiercely contested summer movie season, an obscure animated film has emerged as one of the period's most unexpected box-office stories.
Niu Lai, a low-budget original animation with rudimentary character modeling and an unconventional, abstract storyline, hit Chinese theaters on August 5 but earned just 7,169 yuan ($995) during its first nine days. But its cumulative box office had surpassed 2.5 million yuan as of press time.
Niu Lai opened with little of the machinery normally associated with a commercial theatrical release. It had no star-studded cast, major promotional campaign or significant pre-release buzz. Its opening-day box office was just over 3,400 yuan ($474), with fewer than 300 moviegoers watching it during its first nine days, according to Maoyan.
That changed on August 14, when a social media topic about its nine-day box office of just over 7,000 yuan went viral. Rather than praising the film, many users were drawn to its unusually rough production and two-person creative team.
Terms such as “the most basic theatrical film,” “disaster-level” and “worse than AI-generated animation” circulated online, with some netizens saying they could “hardly believe it was a Chinese animated film released in 2026.” Others said they wanted to see it simply to find out “just how bad it could be.” Some even joked that stock market investors were heading to theaters after wishing for a “bull market” to arrive soon.
The online buzz has also sparked a wave of fan-made content, with netizens inserting the film's little bull character into posters for various classic movies. The playful edits have further fueled its visibility on social media, turning Niu Lai into an internet meme and a shared online joke.
The film's viral attention also spawned jokes that Nolan might not have expected Niu Lai to become an unlikely rival to The Odyssey, which opened in China on August 14 amid intense competition for summer moviegoers.
Its rise stands in sharp contrast to the conventional logic of China's increasingly competitive theatrical market, particularly this summer, when a string of high-profile releases, including The Odyssey, Once Upon a Time in the Middle East and Spider-Man: Brand New Day, are competing for audiences.
"Niu Lai has been driven by curiosity and social currency, with audiences essentially paying a premium for the feeling of being part of a trending phenomenon. Curiosity can generate genuine audience interest, but social-media-driven hype is essentially a bubble built on traffic," Zhang Peng, a cultural researcher and associate professor at Nanjing Normal University, told the Global Times.
"When cinemas add screenings for Niu Lai, they may appear to be responding quickly to market demand, but in reality, they are giving in to online buzz rather than making decisions based on the quality of the film itself," Zhang said.
According to Zhang, The Odyssey's strong reception and high theater attendance in China demonstrate that high-quality content, combined with a distinctive and hard-to-replicate theatrical experience, remains at the heart of the cinema business.
"Niu Lai, meanwhile, serves as a warning that speculative filmmaking and curiosity-driven marketing should not be mistaken for a replicable formula, as relying on such tactics offers little positive value for the long-term development of the film industry," he said.
"A fleeting viral frenzy can never replace a solid creative foundation. Content quality remains the enduring value that will sustain the film industry over the long term," Zhang said.
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