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Yahoo
21-03-2025
- Business
- Yahoo
Hong Kong FilMart 2025: Five Takeaways From Asia's Recharged Global Content Market
With over 7,600 industry players from 42 countries converging in Hong Kong, FilMart 2025 and EntertainmentPulse roared back with a clear message: Asia's entertainment engine isn't just running — it's accelerating into new markets, formats, and technologies. Hosted by the Hong Kong Trade Development Council (HKTDC), the four-day market featured more than 760 exhibitors and a noticeable surge in Southeast Asian representation. From co-production matchmaking to cutting-edge AI applications and a live showcase of Hong Kong's film music legacy, FilMart proved once again why it's considered Asia's premier film and TV marketplace. More from Variety Asia's Animation Revolution Drives Upbeat Outlook Acclaimed Duo Huang Ji, Otsuka Ryuji Team Again for 'A Woman Builds' Phoenix Waters, Studio Target Sign Tri-Regional Film-TV Partnership, Set 'Shashou' Here are the top takeaways from this year's edition. 1. ASEAN Presence Explodes as Southeast Asia Takes Center Stage One of the biggest headlines this year was the rise of ASEAN countries as strategic players in both market scale and content ambition. Exhibitor participation from the region grew more than 50% year-on-year, while buyer attendance increased by 15%. Malaysia's national film body, FINAS, used the event to finalize a memorandum of understanding with Korea's KOFIC and engage in market access talks with Cambodia. 'It was a great start on the first day of FilMart 2025,' said FINAS CEO Dato' Azmir Saifuddin Bin Mutalib, 'among the discussions that concluded successfully is the discussion with the HK Cultural & Creative Development Agency on co-production funding.' Elsewhere, Thailand and Indonesia curated pavilions and forums designed to spotlight their creative capabilities and global ambitions, affirming that Southeast Asia is no longer a side act — it's part of the main billing. Newly launched this year, the Producers Connect program quickly became a hub of high-level conversation and practical matchmaking. Jointly backed by the Culture, Sports and Tourism Bureau, the Creative Industries Development Agency (CCIDA), the Hong Kong Film Development Council and the HKTDC, the initiative drew more than 1,300 participants. A marquee session titled 'International Coproduction: Balancing Risk and Rewards' zeroed in on creative integration, funding diversification and the realities of working across borders. Speakers included Gabriela Tocchio (Gullane Films), Justin Kim (CJ ENM), and Natacha Devillers (Les Petites Lumières), who unpacked strategies for overcoming cultural friction and production logistics. The program's Fireside Chats added depth, focusing on IP expansion and emerging market strategies. The program brought together international producers and local filmmakers — including Oliver Chan, Tenky Tin and Jill Leung — in discussions designed to foster cross-regional partnerships and expand global collaboration. The animation industry in Asia has grown exponentially in recent years and the buzz in the halls was all about what will be the next 'Ne Zha 2.' The toon has taken over $2 billion and become the highest-grossing animated film in history, and the fifth-highest-grossing film ever. Chinese companies are all busily mining classical texts for content. Studios in Southeast Asian countries like Indonesia are seeing rising demand because they can offer top-drawer animations with much lower labor costs than places like Japan and South Korea. But Japan continues to appeal despite higher production costs because the quality is simply so good. The Digital Entertainment Summit doubled down on the region's animation gold rush. Under the theme 'Unlock Opportunities of the Dynamic Animation Market and Productions in Asia,' two panels dissected the ecosystem's rapid growth. The first, focused on market trends, brought together Catherine Ying (CMC Inc./Pearl Studio), Francesco Prandoni (Production I.G.), Kang Yue (Bilibili), and Mia Angelia Santosa (Visinema). The second highlighted creative and production outlooks, with speakers like Karyabudi Mohd. Aris (Les' Copaque Production Sdn.), Nao Hirasawa (ARCH Inc.), Polly Yeung (Point Five Creations), and Yu Zhou (Light Chaser Animation Studios) offering insights into a pipeline that's increasingly collaborative and tech-driven. Artificial Intelligence didn't just trend — it dominated. Hong Kong is very much focused on becoming an AI hub, so it's not surprising that FilMart featured a dedicated AI Hub to showcase cutting edge film production applications. Creatives are enthusiastic about how AI will impact on dubbing. It reduces the need for multiple voice actors and should cut back the time spent in post-production. Among Japanese animators, there is a feeling that studios have been slow to adopt AI options in general and the impact on creatives will be minimal. Sony Pictures hopes to use AI to cut production costs. At AI Hub, Sony unveiled a camera integrated with AI for automated framing and remote pan, tilt and zoom functions. Lenovo revealed a six-legged AI robodog equipped with autonomous learning and adaptive capabilities, designed for transporting cargo on challenging terrain. The debut of the AI Hub brought 10 exhibitors into focus, showcasing real-world applications of artificial intelligence across production, post-production, distribution, and promotional functions. More than 3,900 professionals engaged with the exhibition and interactive forums. A session, 'Gearing up for the AI Opportunities,' included presentations by Hong Li Animation Studios and Heguang Post-Production. Drawing on the massive success of 'Ne Zha 2,' speakers detailed how AI-powered special effects and automation were used in high-end animation and VFX pipelines. Liu Baoyu, vice general manager of Heguang, cautioned: 'We should make good use of AI while maintaining respect for traditional art.' Jihong Chen, partner at Zhong Lun Law Firm, added that AI proficiency is now 'crucial for staying competitive.' First-time participants this year included Armenia, Kazakhstan, and the Czech Republic, while buyers flew in from Argentina, Kyrgyzstan, Pakistan, and Bulgaria — extending the event's reach well beyond the usual Asia-Pacific and North American attendees. The 23rd Hong Kong – Asia Film Financing Forum brought together 48 projects for dealmaking, with over 35 countries represented. Meanwhile, the on-site screenings featured 24 titles, including 10 world premieres, and the online IP Catalogue — listing 1,600+ projects — remains open through April. As Helen Sawczak, New South Wales' senior trade commissioner (Greater China), put it: 'FilMart offers the ideal stage to showcase NSW's creative excellence while fostering cross-border collaborations and opportunities.' From regional power shifts and cross-border co-financing to new tech and cultural innovation, FilMart 2025 reaffirmed its reputation as the region's most consequential market — not just for what gets announced, but for the momentum it builds. With Southeast Asia rising, AI going operational, and Asian animation accelerating, the story of Asia's screen industries is not only continuing — it's diversifying, digitizing, and daring to reach further than ever before. Best of Variety New Movies Out Now in Theaters: What to See This Week Oscars 2026: First Blind Predictions Including Timothée Chalamet, Emma Stone, 'Wicked: For Good' and More What's Coming to Disney+ in March 2025
Associated Press
20-03-2025
- Entertainment
- Associated Press
FILMART & EntertainmentPulse Attracted Over 7,600 Global Industry Players
Showcasing new developments across entertainment industry value chain FILMART and EntertainmentPulse drew industry players from 42 countries and regions, attracting more than 7,600 global participants, promoting cross-regional, cross-media and cross-industry collaboration and strengthening Hong Kong's position as a centre for cultural and artistic exchange There was significant growth of ASEAN exhibitors and buyers with over 50% and 15% increase respectively year-on-year The inaugural Producers Connect programme, jointly organised by the Culture, Sports and Tourism Bureau, Creative Industries Development Agency, the Hong Kong Film Development Council, and Hong Kong Trade Development Council received an overwhelming response, drawing more than 1,300 participants to discuss the collaboration opportunities across various markets AI applications and Asian animation took centre stage, bringing together industry experts to explore the synergy between innovative technology and creative industries HONG KONG - March 20, 2025 ( NEWMEDIAWIRE) - Organised by the Hong Kong Trade Development Council (HKTDC), Hong Kong International Film & TV Market (FILMART) and EntertainmentPulse drew to a successful close today, attracting more than 7,600 industry players from 42 countries and regions, promoting cross-regional, cross-media and cross-industry collaboration. The four-day event brought together more than 760 exhibitors from 34 countries and regions. The event was more international this year, with particularly strong growth in participation from ASEAN countries which saw exhibitor numbers surge by more than 50% while buyer attendance from the region rose 15% year-on-year. Producers Connect opens new avenues for global film collaborationThe inaugural Producers Connect programme, jointly organised by the Culture, Sports and Tourism Bureau, Creative Industries Development Agency (CCIDA), the Hong Kong Film Development Council, and HKTDC received an overwhelming response. The initiative attracted strong participation from international producers alongside veteran and emerging local filmmakers, including Oliver Chan, Tenky Tin, Jill Leung, drawing more than 1,300 participants to discuss the collaboration opportunities across various markets. A highlight of the programme, 'International Coproduction: Balancing Risk and Rewards', explored crucial aspects of creative talent integration, funding sources diversification and audience base expansion. Industry leaders including Gabriela Tocchio, Executive Producer of Gullane Films from Brazil, Justin Kim, Head of International Film Production at Korea's CJ ENM, and Natacha Devillers, Producer at France's Les Petites Lumières, shared insights on overcoming cultural differences and logistical challenges. The programme featured a 'Fireside Chats' series focusing on global market development strategies, emerging and European market opportunities, and intellectual property (IP) development and extension, providing local producers with valuable international perspectives while fostering cross-regional partnerships. Additionally, at the EntertainmentPulse forum, veteran film critic Thomas Shin, The Last Dance's director and producer Anselm Chan, screenwriter Cheng Wai-kei, alongside Papa's producer Amy Chin and director-screenwriter Philip Yung, discussed the transformation and prospects of Hong Kong cinema. Growing international presence connects global industry players This year's FILMART featured various regional pavilions with distinctive programmes to showcase their thriving film, television and entertainment industries to global participants - Thailand's Ministry of Culture hosted two forums highlighting its creative cultural industry capabilities; Indonesia themed its participation around fostering global partnerships, presenting diverse works; while the National Film Development Corporation Malaysia (FINAS) focused on Asia collaboration this year, Dato' Azmir Saifuddin Bin Mutalib, CEO, National Film Development Corporation Malaysia (FINAS) said, 'It was a great start on the first day of FILMART 2025, and among the discussions that concluded successfully is the discussion with the HK Cultural & Creative Development Agency on co-production funding, finalising an MoU with KOFIC Korea and discussion with Cambodia on market access.' The Investment New South Wales (NSW) of Australia made its debut appearance at FILMART, promoting local creative industry development, Helen Sawczak, NSW Senior Trade and Investment Commissioner, Greater China said, 'We are excited to be making our debut at FILMART and eager to connect world-class screen industry with global partners. As one of the premier international forums for film and entertainment, FILMART offers the ideal stage to showcase NSW's creative excellence while fostering cross-border collaborations and opportunities.' First-time participants including Armenia, the Czech Republic, and Kazakhstan, and, along with buyers from emerging markets such as Argentina, Bulgaria, Kyrgyzstan and Pakistan, underscore Hong Kong's crucial role as a bridge connecting global film and television markets. AI expands production horizons with Ne Zha 2 team sharing success story The exhibition's spotlight feature, the pilot project AI Hub, brought together ten exhibitors showcasing innovative AI solutions spanning across production, post-production, distribution, and promotional applications, attracting more than 3,900 industry professionals to take part in its interactive forums at the exhibition zone. Riding on the global success of Ne Zha 2, EntertainmentPulse hosted a forum titled 'Gearing up for the AI Opportunities', featuring special presentations from Hong Li Animation Studios and Heguang Post-Production, who shared their experiences in AI-powered special effects creation. Liu Baoyu, Vice General Manager of Heguang Post-Production, said 'We should make good use of AI while maintaining respect for traditional art, as we continue to explore new forms of artistic expression.' Jihong Chen, Partner of Zhong Lun Law Firm emphasised that AI proficiency is now crucial for staying competitive. Key events highlight industry developments and Asian animation's new opportunities The Digital Entertainment Summit was themed as 'Unlock Opportunities of the Dynamic Animation Market and Productions in Asia' and was jointly organised by the Hong Kong International Film Festival Society and Hong Kong Digital Entertainment Association. The summit featured two specialist panels namely 'Asian Animation Market Trends & Development' with speakers including Catherine Ying, Vice President of CMC Inc. and President of Pearl Studio; Francesco Prandoni, Global Licensing Team Leader at Production I.G, Inc. and Mia Angelia Santosa, Chief of Staff at Visinema; and Kang Yue, Senior Business Director at bilibili, who shared insights on market opportunities. The second panel, 'Prospects for Asian Animation Creation & Production in Asia', featured Karyabudi Mohd. Aris, Director of Marketing, Sales and Licensing at Les' Copaque Production Sdn., Nao Hirasawa, CEO of ARCH Inc., Polly Yeung, Producer and Scriptwriter at Point Five Creations, and Yu Zhou, Co-founder and President of Light Chaser Animation Studios, who explored the latest developments in Asian animation production. Phoenix TV and the UK Department for Business and Trade also jointly held a UK-China Screen Forum during FILMART and announced that the BBC Studio documentary 'Asia' and the iconic IP 'Walking with Dinosaurs' will be exclusively screened on Phoenix TV Chinese Channel and iQiyi respectively, further promoting UK-China film and television cooperation. The 23rd Hong Kong - Asia Film Financing Forum (HAF23) was also held during FILMART, where 48 selected film projects participated in business matching sessions with investors, producers, and distributors from over 35 countries and regions during the three-day event, further exploring investment opportunities for the Asian film and entertainment industry. To facilitate industry exchange and rights trading, FILMART also featured 24 screenings including 10 world premieres, 7 international premieres, and 5 Asian premieres, alongside pitching sessions and business matching activities. This year, the Hong Kong Entertainment Expo introduced the new 'Hong Kong Film Music Fiesta,' organised by the Hong Kong Film Composers' Association. Under the theme 'Echoes of Order and Chaos' and led by music directors Tomy Wai and Julian Chan, the showcase performed classic selections from various film composers, paying tribute to acclaimed filmmakers and musicians including Benny Chan, Teddy Robin, and Kenji Kawai, while exploring the timeless duality of justice and crime through action themes, showcasing the distinctive flair and creative excellence of Hong Kong film music. Additionally, there were three flash-mob performances all with a Hong Kong movie music theme, to demonstrate the distinctive appeal of cross-media collaboration between music and film, fostering more cross-sector partnerships. All registered attendees at FILMART can access the online IP catalogue which features over 1,600 creative IP projects, extending the four-day physical exhibition into a two-month networking platform, assisting the industry explore business opportunities and further strengthening Hong Kong's position as Asia's film and entertainment trading hub. The catalogue will remain accessible until 27 April 2025, enabling the industry to continue exploring global business opportunities. Photo Download: Media enquiries For enquiries, please contact: Raconteur PR: HKTDC Communication and Public Affairs Department:
