Nissan's New Hybrid Sedan Offers the Size of an Altima at a Much Lower Price Than a Versa | Carscoops

      The new Nissan N6 plug-in hybrid sedan is now available for pre-order in China at an astonishingly low price by Western standards.

      Nissan has detailed pricing for the new N6 sedan in China, which features a plug-in hybrid system that produces 208 hp and offers an electric driving range of 112 miles. By 2027, the N6 and N7 sedans will be accompanied by four electrified SUVs.

      Following the success of the fully electric N7, Nissan's Dongfeng joint venture has introduced the new plug-in hybrid N6 sedan, which is now up for pre-orders starting at just ¥106,900 ($15,000). Despite the lower price point, it comes well-equipped even in its base model, illustrating that there is still room to lower prices in China's competitive automotive market.

      The N6 was first unveiled in August and shares a design closely resembling that of the N7. However, despite the similar styling, the Dongfeng-manufactured sedans do not share any body panels and have slightly different dimensions.

      The N6 is somewhat more compact, measuring 4,831 mm (190.1 inches) in length with a 2,815 mm (110.8-inch) wheelbase, providing a luggage capacity of 570 liters (20.1 cubic feet). This puts it in a similar size range to the US-market Altima, which measures 4,900 mm (192.9 inches) long with a wheelbase of 2,825 mm (111.2 inches).

      Powertrain Information

      While the N7 operates exclusively on electric power, the N6 features a combustion engine alongside its electric motor, though the majority of driving is still powered by electricity.

      The plug-in hybrid configuration yields a combined 208 hp (155 kW / 211 PS) and 320 Nm of torque, allowing the car to accelerate from 0 to 100 km/h (0-62 mph) in 6.8 seconds. It utilizes a substantial 21.1 kWh LFP battery, offering an electric-only range of 180 km (112 miles) under the generous CLTC testing conditions.

      Customers can select from three trims: Pro, Max, and Max+, all built on the same technical foundation. The entry-level Pro features 17-inch wheels, an electric sunroof, ambient cabin lighting, a 10.25-inch digital instrument cluster, and a 14.6-inch infotainment screen.

      At the high end, the Max+ trim adds a larger 15.6-inch touchscreen and Nissan’s “AI Zero-Pressure Cloud Carpet Seat” designed for the driver. This seat includes 49 pressure sensors and provides 14-way electric adjustment along with leg and lumbar support, heating, ventilation, and massage functions.

      Further highlights include anti-motion sickness technology, facial recognition for the driver, and an 8775 Qualcomm Snapdragon chip, while the lower trims use the 8155 processor. The system also supports more advanced driver assistance features.

      Pricing

      The standard starting price for the N6 in China is ¥109,900 ($15,500), making it ¥10,000 ($1,400) less expensive than the N7. However, Nissan has announced special pricing during the pre-sale period, enhancing the plug-in hybrid's value proposition, with the base model available from ¥106,900 ($15,000). Deliveries are anticipated to start on December 8.

      For context, the base N6 is almost $2,400 cheaper than the much smaller 122hp Nissan Versa in the United States, and even the fully equipped flagship version is still roughly $400 less than the base model of the Versa.

      Domestic competitors still offer lower prices. For instance, the Geely Galaxy A7 starts at ¥81,800 ($11,500), while the BYD Qin L begins at ¥96,800 ($13,600). Nonetheless, Nissan is banking on a combination of refinement and technology to attract buyers looking for a more premium hybrid option.

      During the launch of the N6, Nissan also revealed plans to introduce four SUVs featuring battery electric, plug-in hybrid, and range-extender powertrains by the end of 2027.

Other articles

The Upcoming Hybrids from Porsche May Feature an Innovative New Electric Motor | Carscoops A recent hybrid patent suggests axial motor technology that might revolutionize the 911, offering reduced weight and enhanced performance.

This Ruf-Style Beetle Demonstrates That Even VW’s Cutest Car Can Have a Fierce Side | Carscoops This Beetle, inspired by RUF, features a modified turbocharged four-cylinder engine, Brembo braking system, and Recaro seating.

The TVR Griffith May Finally Resurface Thanks to an Electric Restomodder | Carscoops The sports car was originally introduced with a Ford-sourced V8 engine that was modified by Cosworth to produce 500 hp.

Removing the doors of the 2026 Jeep Wrangler doesn't require any tools. Goodbye, Torx bits! Jeep has significantly simplified the process of removing the doors on the new Wrangler.

Bentley has just created its lightest vehicle in 85 years, and it’s truly impressive. | Carscoops The latest Continental GT Supersports replaces its hybrid configuration with a conventional V8, features rear-wheel drive, a more responsive chassis, and updated aerodynamic components. $**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder$ **Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder After years of deeming it unnecessary, Tesla might be subtly conceding to Apple.

Nissan's New Hybrid Sedan Offers the Size of an Altima at a Much Lower Price Than a Versa | Carscoops

The new Nissan N6 plug-in hybrid sedan is now available for order in China at an unexpectedly low price, particularly when compared to Western markets.