Hong Kong Filmart prides itself on the fact that each year it alerts the global entertainment industry to which way the winds of the content business are flowing across Asia.
So expect much attention going into this year’s 29th in-person edition of the event to be on what’s happening online and, specifically, the event’s decision to sharpen its digital platform into what organizers are describing as “a comprehensive IP Catalogue.”
Whereas the primary focus of the online platform across previous editions was on “exhibition planning and operation” — meaning it functioned “like an online booth” — this new format will allow exhibitors “to showcase their projects in detail, creating a more efficient marketplace for IP trading,” according to event organizers, the Hong Kong Trade Development Council (HKTDC).
It will also help those heading to Hong Kong to prepare for what’s ahead. While the physical edition of Filmart is set for March 17-20 at the Hong Kong Convention and Exhibition Centre, the IP Catalogue is set to go online for a 10-week stretch from late February to mid-April.
“This strategic move addresses the industry’s demand for a centralized hub for IP trading, significantly amplifying business matching opportunities and solidifying Hong Kong’s stature as Asia’s premier IP-trading nexus,” explains Candas Yeung, associate director of the service promotion department at the HKTDC.
By offering exhibitors a dedicated space to showcase their IP data, and by incorporating advanced search and filtering functions, the HKTDC is hoping buyers can now navigate through desired IPs with heightened efficiency. “The IP Catalogue acts as an extension of the physical exhibition experience, empowering visitors to explore exhibitors’ projects before and after [Filmart],” says Yeung. “It acts as a robust launchpad for lucrative business opportunities, fostering dynamic conversations and negotiations that drive active engagement and facilitate fruitful partnerships within the industry.”
The HKTDC says that on launch, dealmakers should expect to find advanced search and filtering capabilities, detailed project information, including production information, synopses, posters, stills and trailer links, along with direct access to potential international buyers and exhibitors.
It’s a prescient move, given Filmart functions also as a gateway to the mainland Chinese film industry. The recent Lunar New Year (Jan. 28-Feb. 4) — traditionally the country’s busiest box office stretch — was dominated by a collection of films derived from some of the country’s most popular IPs as the industry collected a record $1.3 billion over eight days.
Among them was the animated hit Ne Zha 2 from Enlight Pictures. Based on Chinese mythology, the film took in more than $858 million in ticket sales and is now China’s all-time domestic box office champion. Other IP-based hits include new franchise installments Detective Chinatown 1900 ($313 million) and Creation of the Gods II: Demon Force 9 ($137 million).
Visitors to Filmart can expect to learn more about those titles, and what IPs are up for grabs from the world’s second-largest film industry.
Last year was Filmart’s first in-person, post-pandemic edition, and the four-day event attracted more than 760 exhibitors from 27 countries and regions, with more than 7,500 industry representatives from 50 countries and regions in attendance.
This year, visitors will also be able to tap into what’s happening on the ground in Hong Kong. On the one hand, box office receipts in the city have been in decline (they dropped 37 percent to $3.9 million over the Lunar New Year), but in the past two years, the city has seen a stream of local productions set (and then reset) individual box office records.
Most recently there’s been the Anselm Chan-directed The Last Dance from Emperor Motion Pictures, a film set within Hong Kong’s funeral industry, which took over as the city’s own box office champ with $18.28 million.
Chan will be part of a Filmmaker Sharing session at Filmart that features Philip Yung, director of the family crime flick Papa, which is currently up for three prizes at the Asian Film Awards. The Last Dance is also up for Asian Film Awards, which are staged in Hong Kong the night before Filmart kicks off.
“[The session] is aligned with the objective of incorporating an educational component into the exhibition and fostering the talents of the future while driving industry advancement,” explains Yeung. “Tertiary institutions with relevant expertise have been invited to participate.”
The Filmmaker Sharing session is part of the EntertainmentPulse series of panel discussion and networking opportunities that runs alongside Filmart and also includes deep dives into trends and challenges in ASEAN film market, including animation and streaming (OTT), one of the main drivers of expansion plans at the event.
“Filmart has proactively embraced the burgeoning streaming market by integrating exhibitors and buyers from major streaming platforms across Asia, injecting momentum into this rapidly expanding sector at various levels of the exhibition,” says Yeung, who points to a seminar co-hosted by the Asia Video Industry Association as a highlight. “The seminar will delve into the transformative impact of OTT platforms on distribution channels, offering filmmakers new avenues to connect with global audiences. Discussions will also explore the significant role of AI in video streaming, encompassing content delivery optimization, AI-driven insights, automated marketing, churn reduction, personalized experiences and the evolution of media tech landscapes.”
Yeung adds that one of the goals of the session is to provide analyses of the types of content that currently excel on OTT platforms, providing guidance on aligning projects with current audience preferences and evaluating ROI metrics to empower filmmakers with the information needed to make “informed decisions for long-term success.”
There will also be a special program for producers that will include workshops, fireside chats and networking events aimed at supporting collaboration between various Asian filmmakers and industries.
“The fair emphasizes global representation, spotlighting a variety of nations that contribute to the richness of the entertainment landscape,” says Yeung. “Attendees will witness the latest market trends, including innovative content formats, storytelling approaches and technological advancements that are reshaping the industry.”