With the launch of Hong Kong Filmart 2025, the first entertainment market in Asia sets new standards for regional and global cooperation in the industry, with expanded international participation and initiatives designed to address the sophisticated scene to create and distribute content.
The event of this year will bring together more than 750 exhibitors from more than 30 countries and regions, with 32 collective wings led by governments from 23 countries and regions, according to Candas Yeung, assistant director to manage services promotion in the Hong Kong Trade Development Council. “What is should be guided in particular is the expanded geographical diversity,” Young told Yeung. diverse. “We will welcome many new external wings from markets such as Australia (New South Wales), Cambodia, France, India, Malaysia, Saudi Arabia and Vietnam, while the Japan, Philippine, Thailand and Taiwan wing will be expanded.”
putrid. The Southeast Asian countries region showed a particularly strong representation with more than 100 exhibitors from seven countries, while exhibitors for the first time are from markets such as the Czech Republic and Kazakhstan explaining the growing global access in Filmart. In terms of attendance, organizers expect more than 7,500 industry specialists from more than 50 countries and region in Hong Kong for this event.
Filmart 2025 introduces two important new programs that reflect the development of the market. The first is that the producers call, organized by the Office of Culture, Sports and Tourism, the Cultural and Creative Industry Development Agency, and the Hong Kong Film Council and HKTDC, and funded by the government’s film development fund. “The program provides the producers a valuable platform for networks, finance, learning and job progress in the film industry,” explains Yong. “Through international exposure, producers can obtain valuable industrial visions and connections, which leads to joint production opportunities and global distribution and cooperation agreements.”
The second initiative is the AI Hub Pilot program, which was jointly organized by HKTDC associations and industrial societies, creating a platform for players in this field to explore and enhance the integration of artificial intelligence into the creation and production of content.
The Asian entertainment market witnessed a remarkable shift over the past year, as the ASEAN countries have benefited from the soft power of international cultural exchange. “Many successful cooperation in Filmart 2024 showed this trend, including the HUNAN MANGO TV partnership with YEAI to participate in the production of the Vietnamese version of the famous Mango TV IPS, and the strategic collaboration of Linmon Picttures with the Thai Production Company Halo Production Co. to create a new version of a famous Chinese chain” nothing but Thirty ”.
In addition to the international flavor of Filmart 2025, the promotion of European films will work on its annual center. EFP, a network of national films promotion agencies from 37 countries across Europe, brings together a list of leading sales companies.
Industry leaders from all over Asia offer accurate views on the challenges and opportunities facing the Asian film market. Jangho Seo, CEO of the “CJ Enm” studio, is the Asian market today as a powerful IP engine.
“In order to achieve the content of the country that achieves global attractiveness, it is important to obtain strong local and regional support, first and foremost,” says SEO diverse. “Given that a large number of Asian projects (projects), especially from CJ Enm, receive appreciation from the global market based on the quality of its strong production and its development of attractive narration -“ Queen of Tears, “Jameel Running” and “Marriage to My husband” (is) international sensations while “I can see your voice” is adapted in 30 regions, the cultural market has become in all this phenomenon.
SEO notes that market events provide invaluable opportunities for face -to -face meetings, conferences to exchange ideas and escalate. However, it recognizes the challenge that these events cannot grow increasingly increasingly for Asian content providers, often attending these events.
For senior economic officials, the Filmart strength lies in its “cultural geological advantage”, where Hong Kong has been an excellent location for personal meetings among customers all over the world. “The event creates and provides a welcome environment and access to each player,” he says, adding that CJ Enm maintains an office in Hong Kong deals with various companies, including TVN ASIA, which makes Hong Kong “a very important and strategic area for us to continue cultural diplomacy.”
Lorna Tee, a cinema producer and coordinator with an experience of more than 20 years in the media and entertainment industry, refers to the independent films market and see industry events as places where these films can find funding and distribution. “Independent films had a somewhat healthy market in the past, but in the past decade or so, the ability of films that have been made outside the system to secure distribution and sales is harsh,” says Ti. It suggests that “it can” bring a number of wealthy individuals and institutions to the market, as happens during Art Basel “to enrich the market and raise it to another level.
“The ultimate goal is to create a scenario in which Asian films can reach the masses throughout the region, giving them the opportunity to flourish,” says Yulia Evina Bahra in Indonesia. a dialogue.
Jeremy Choa, General Manager of the Singapore International Film Festival and winner of the Cannes Festival “inside the yellow shell”, notes that “distributors are more conservative at the present time, and they rely on the award winners, big directors or recognized acting to attract the public.” While the initiative of new producers is already deals with some network fears, Choa notes that a movie may enhance opportunities for emerging movie factories with “Asian version of Marché du Films” to create more unofficial network opportunities – “Imagine this with Tolley Dim Sum Tolley”.
Liza Diño, which heads the media and the facility in the Philippines and its headquarters, determines many challenges, including changing the landscape of distribution and bias of the type that prefers terror, work and excitement crime. “While signs give priority to gender films, they also expand their regional content strategies,” Diño notes, pointing to platforms like Netflix, Prime Video and Disney+ Investing in Asian original copies as new opportunities for various types of content. It recommends that you present the movie “Devoted” for the A-List festival options from new managers to give their films a better vision with buyers.
There is an important trend in Filmart 2025 is an increase in animation content after the tremendous success of the Chinese “Ne Zha 2”, which has achieved more than two billion dollars worldwide. Entertainmentpulse will host a dedicated symposium that brings together animation producers from all over Asia, while a separate panel will explore artificial intelligence applications in the visual hearing industry. To build on Boom toon, the Hong Kong – Asia Film Film Forum presented a new animated section this year, with six distinctive animation projects from all over the world participating in open sessions during filmart.
IP development is also supported by online IP catalog, and includes more than 1000 IPS of the exhibitors. “The platform helps in maintaining calm communication beyond the material event, expanding the opportunities for promotion and matching business from the exhibition for a period of four days to a period of two months,” explains. The importance of developing IP in producers will be explored through a chat for Fireside chat that discusses extension strategies.
While personal networks have firmly returned as the essence of filmart, the digital ingredients continue to enhance the business experience. “The material event is very important to the relevant reactions to face, spontaneous commercial discussions, and building relationships between content, buyers and distributors from different regions,” says Young. “At the same time, we continue to enhance our online offers to create a more effective market.”
Looking at the future, the topic of the 2025 movie – “Dare to Change, Dare to Excel” – refers to an Asian entertainment market that develops. “The Asian entertainment scene is transformed by increasing the diversity in the creation of content, expanded distribution channels and improved border partnerships,” Yong concludes. “We are witnessing the integration of advanced technologies along with new products, which puts the way for continuous growth and innovation.”
