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Entertainment Expo makes grand return

– Spectacular events lead industry innovation and opportunities

This year’s Entertainment Expo Hong Kong 2025 makes a grand return and is set to be the biggest yet injecting fresh vitality into Hong Kong’s entertainment sector and heralding in a new vision. Taking place from 16 March to 27 April, this year’s Expo encompasses nine signature events, fostering cross-regional collaboration and digital transformation opportunities, further cementing Hong Kong’s position as Asia’s entertainment hub.

Entertainment Expo 2025 is organised by the Hong Kong Trade Development Council (HKTDC) with sponsorship from the HKSAR’s Cultural and Creative Industries Development Agency (CCIDA), Film Development Fund, and the Culture, Sports and Tourism Bureau and is part of Arts March Hong Kong. The launch ceremony will take place on 17 March at the Hong Kong Convention and Exhibition Centre (HKCEC), with Leon Lai continuing in his role as Hong Kong Entertainment Ambassador and carrying forward his mission of promoting Hong Kong’s film and entertainment culture.

A new addition to this year’s line-up, the Hong Kong Film Music Fiesta joins forces with established events including the Hong Kong International Film and TV Market, EntertainmentPulse, Hong Kong International Film Festival, Hong Kong Film Awards, Asian Film Awards, Digital Entertainment Summit, Hong Kong – Asia Film Financing Forum, and the Microfilm Production Support Scheme (Music), presenting captivating entertainment content

Hong Kong International Film and TV Market (FILMART)
The 29th FILMART, Asia’s leading entertainment content marketplace organised by the HKTDC, will run from 17 to 20 March at the HKCEC and brings together more than 750 exhibitors from over 30 countries and regions, and features more than 30 regional pavilions. This year, Australia, Cambodia, France, India, Malaysia, Saudi Arabia and Vietnam will host new pavilions while emerging markets including Czech Republic and Kazakhstan, join for the first time, further enhancing the event’s cultural diversity.

FILMART introduces several groundbreaking initiatives this year, headlined by Producers Connect – a collaborative effort between the Culture, Sports and Tourism Bureau, CCIDA, Hong Kong Film Development Council, and the HKTDC, funded by Film Development Fund. This focused programme features a series of events including a panel discussion, fireside chats, workshops and business matching activities, forging valuable networks for emerging and renowned producers from Hong Kong and around the world, to steer more co-productions, while supporting up-and-coming talents.

In response to the global digital transformation sweeping across the film and TV production world, the HKTDC will launch the AI Hub pilot programme in collaboration with the Association of Motion Picture Post Production Professionals and the Movie Producers and Distributors Association of Hong Kong. Comprising an exhibition zone, conference panel and forums, AI Hub promotes AI usage across the filmmaking process, with the exhibition zone spotlighting AI solutions from the Hong Kong Academy for Performing Arts (HKAPA) School of Film and Television, Lenovo and Sony, and more. Distinguished industry leaders and AI pioneers will also gather at the conference and forums to share their knowledge and expertise in harnessing AI’s game-changing potential.

While the physical exhibition spans four days, the FILMART Online IP Catalogue will operate from now until 27 April, helping exhibitors and buyers to continue their discussion for project collaborations before and after the fair.

EntertainmentPulse
The four-day conference, EntertainmentPulse assembles global entertainment industry leaders to discuss the outlook and development of the Asian markets. Key topics include Asian animations, ASEAN market and video streaming. While the world recognized producers will take a deep dive into risk management in cross-border co-productions on the second day, the panel of “Gearing Up for the AI Opportunities” is the highlight for day two, featuring Yu Zhixin, producer of Ne Zha 2 from Hong Li Animation Studios, who will share insights on leveraging AI to achieve international acclaim.

Hong Kong International Film Festival (HKIFF)
From 10 to 21 April, the 49th HKIFF presents the theme “Dialogue – Conversation of Film” with acclaimed actress Angela Yuen serving as festival ambassador. Celebrated screen icon Louis Koo takes centre stage as Filmmaker in Focus, with a curated retrospective of ten seminal works highlighting his enduring impact on Hong Kong cinema.

A distinguished highlight features Catalonian virtuoso Albert Serra‘s masterclass, where the contemporary auteur will present his latest documentary Afternoons of Solitude and share insights into his signature long-take aesthetic. The highly acclaimed Finnish director Juho Kuosmanen will also be featured, presenting his latest film, Silent Trilogy, while sharing his film philosophy and artistic vision with the audience in Hong Kong. Additionally, more highlighted filmmakers from France, Switzerland, Japan, Korea, Vietnam, and Taiwan are set to come, offering a variety of exciting programs.

Hong Kong Film Awards (HKFA)
The 43rd Hong Kong Film Awards ceremony will take place at the Hong Kong Cultural Centre on 27 April. This year’s awards demonstrate unprecedented industry solidarity, with first-round voting participation reaching a three-year high of 64.84%. Reflecting the industry’s continuing professional development, the HKFA Association has grown from 14 to 17 member organisations, including the Hong Kong Film Assistant Directors’ Association, Hong Kong Association for Pictures and Sound Production, and Hong Kong Visual Effects Association.

This year’s nominations showcase Hong Kong cinema’s diverse creative prowess The Last Dance, Hong Kong’s highest-grossing Chinese-language film to date, leads with 18 nominations, followed closely by Twilight of the Warriors: Walled In with 14 nominations.

Asian Film Awards (AFA)
The 18th Asian Film Awards will take place at the Xiqu Centre on 16 March and feature 30 outstanding films from 25 countries and regions competing across 16 categories and legendary international action star and director Sammo Hung chairs this year’s jury. Korean film Exhuma dominates with 11 nominations, including Best Film and Best Director followed by Hong Kong’s action epic Twilight of the Warriors: Walled In follows with nine nominations. Japanese director Daihachi Yoshida’s black-and-white film Teki Cometh and Indian director Payal Kapadia’s All We Imagine as Light each received six nominations. Hong Kong films Papa and The Last Dance garnered three nominations each, with Sean Lau and Michael Hui competing for Best Actor, Maggie Li Lin Lin received her first Best Supporting Actress nomination for All Shall Be Well.

In February, Japanese all-round artist Koki, was as the recipient of this year’s special Rising Star Award and will personally accept the honour in Hong Kong.

Digital Entertainment Summit
The 14th Digital Entertainment Summit, themed “Unlock Opportunities of the Dynamic Animation Market and Productions in Asia”, organised by Hong Kong Trade Development Council, co-organised by Hong Kong Digital Entertainment Association and Hong Kong International Film Festival Society, will convene at the FILMART on 19 March and brings together Asia’s foremost animation visionaries and industry leaders. In an era where AI and breakthrough technologies are revolutionising creative expression, distinguished industry pioneers from across the region will explore the integration of advanced technologies to elevate production capabilities and examine Asian animation’s strategic positioning in the global marketplace.

Hong Kong – Asia Film Financing Forum (HAF)
Since becoming an integral part of the HKIFF Industry Project Market last year, HAF has expanded significantly. This year’s edition received nearly 400 submissions from 45 countries and regions, including Hong Kong, Kazakhstan, Korea, Thailand, and Turkey, with 48 projects selected. The prestigious lineup includes projects produced by Hirokazu Kore-eda, Stanley Kwan, Lee Sinje, with a cast of veteran actors and rising stars from Lee Kang-Sheng to Kadowaki Mugi, Fan Bingbing, Jennifer Yu, Jack Tan, and Qu Chuxiao and spans action, sci-fi, fantasy, suspense, horror, and disaster genres. A new independent section dedicated to animated feature films at various production stages is a new addition and is designed to foster animation development across Asia. The three-day forum will run concurrently with FILMART from 17-19 March at the HKCEC, will facilitate business matching and networking opportunities to drive Asian film industry development.

Hong Kong Film Music Fiesta
The annual Hong Kong Film Music Fiesta organised by the Hong Kong Film Composers’ Association, promoting Hong Kong’s film music to the global industry and public appreciation through the live performance. Themed “Echoes of Order and Chaos” and staged at the HKCEC on 18 March, the concert will be led by music directors Tomy Wai and Julian Chan, reinterpreting the dynamics of Hong Kong’s crime films, paying tribute to distinguished filmmakers and composers including Benny Chan, Teddy Robin, and Kawai Kenji, and showcasing the unique charm of Hong Kong film music.

Microfilm Production Support Scheme (Music)
The 12th Microfilm Production Support Scheme (Music) Awards Ceremony will take place on 20 March at Theatre 2, HKCEC. The initiative empowers 22 emerging teams and 10 established production houses with grants ranging from HK$130,000 to HK$240,000. Participating filmmakers benefit from comprehensive mentorship in screenwriting, directing, and other facets of production. The scheme recognises excellence through accolades including the prestigious “Best Microfilm Production” award, with distinguished works gaining potential nominations for international festivals, further elevating Hong Kong’s creative talents on the global stage.

Entertainment Expo website: http://www.eexpohk.com

Photo Download: https://bit.ly/41QFgAO

HKTDC Media Room: https://mediaroom.hktdc.com/en

About HKTDC
The Hong Kong Trade Development Council (HKTDC) is a statutory body established in 1966 to promote, assist and develop Hong Kong’s trade. With over 50 offices globally, including 13 in Mainland China, the HKTDC promotes Hong Kong as a two-way global investment and business hub. The HKTDC organises international exhibitions, conferences and business missions to create business opportunities for companies, particularly small and medium-sized enterprises (SMEs), in the mainland and international markets. The HKTDC also provides up-to-date market insights and product information via research reports and digital news channels. For more information, please visit: www.hktdc.com/aboutus.

Prideone Entertainment announces concept for post-war film to mark 80th anniversary of the end of World War II

Prideone Entertainment Co., Ltd. (Headquarters: Shibuya, Tokyo; CEO: Yasushi Akutagawa) has announced the concept for a new film tentatively titled “Fellers” to mark the 80th anniversary of the post-war era.

Akutagawa said, “Fellers is an epic historical spectacle that looks behind the scenes of history from the perspective that it was an American officer, Bonner Fellers, and a group of Christians who saved the Emperor immediately after World War II.”

Akutagawa, who was the original planner and producer of the 2012 American-Japanese film Emperor (with a production budget of 3 billion yen), also focused on Bonner Fellers in that film. However, various interpretations were incorporated, and the final cut differed considerably from the original idea. The film became a love story between Bonner Fellers, played by Matthew Fox, and an imaginary Japanese lover.

In response, various individuals, including Yoshiko Isshiki, former chairperson of Keisen Women’s School, strongly suggested that a true-to-history depiction of Fellers be made in this 80th year since the end of the war. This led Akutagawa to create a new film from the fresh perspective. A Japanese director has been chosen for the project, and an original script based on historical facts has already been completed.

Post-war Japan began on August 30, 1945, when General Douglas MacArthur, the Supreme Commander of the Allied Powers, landed in Japan and started the full-scale American occupation. MacArthur initiated mass arrests of war criminals and began activities to prosecute them. In the United States, there were strong calls from both the government and public to prosecute the Emperor. On the other hand, MacArthur considered the construction of an “anti-communist bulwark” in the Far East to be of utmost importance. He also eyed a future political career and a potential presidential run, so he felt that he needed to achieve success in post-war governance of Japan at all costs. From this viewpoint, he believed that arresting and executing the Emperor would gain him popular support. MacArthur ordered his subordinates to gather evidence that the Emperor had played a decisive role in Japan’s decision to go to war, including the attack on Pearl Harbor. Meanwhile, Bonner Fellers, an American officer with a deep knowledge of Japan, was tasked by MacArthur to investigate. Fellers, who had become acquainted with Yuri Isshiki before the war, was persuaded by the writings of Lafcadio Hearn, a renowned writer he was introduced to by Yuri, and believed that the Emperor should not be executed. Fellers immediately began searching for the whereabouts of Yuri and her mentor, Michi Kawai. This marked the beginning of a grand political drama and historical spectacle that would lay the foundations for what is now modern Japan. Had these events not unfolded as they did, Japan as we know it might not have existed.

Currently, the project is progressing with filming planned for 2027 (in Japan and New Zealand) and release in the fall of 2028. Prideone Entertainment is forecasting a production budget of 4 billion yen, with an additional 1 billion yen for prints and advertising, and is seeking financing options.

About the Producer and Executive Producer, Yasushi Akutagawa:
Born April 3, 1956, in Kumamoto City, Kumamoto Prefecture. He graduated from the Film Department of the College of Art at Nihon University. Akutagawa started making 8mm films while attending Kumamoto Prefectural Seiseiko High School and decided to pursue a career in film production at university. After graduation, he worked at a major advertising agency before founding Prideone Entertainment Co., Ltd. Since then, he has been involved in producing a wide range of projects in film, television, theater, and radio.

Notable Works:
– 1991: Futari (Starring: Hikari Ishida) Directed by Nobuhiko Obayashi
– 1995: Ashita (Starring: Kaori Takahashi, Yasufumi Hayashi) Directed by Nobuhiko Obayashi
– 1998: Kaze no Uta ga Kikitai (Starring: Ryo Amamiya, Yuri Nakae, Tokyo International Film Festival Special Invitation) Directed by Nobuhiko Obayashi
– 1999: Ano Natsu no Hi (Starring: Keiju Kobayashi, Yubari International Fantastic Film Festival Special Invitation) Directed by Nobuhiko Obayashi
– 2000: Den’en no Ytsu (Starring: Tomokazu Miura, Mitsuko Baisho, Tokyo International Film Festival Special Invitation) Directed by Keisuke Kawahara
– 2013: Emperor (Starring: Matthew Fox) Directed by Peter Webber

For inquiries:
Prideone Entertainment Co., Ltd.
https://yasushi-akutagawa.studio.site/

PR: Tsukioka
akidiginfo@gmail.com

Singapore’s Ongoing Blocking of Pirate Sites Protects Consumers And Prevents Potentially Wider Harm

The Asia Video Industry Association’s Coalition Against Piracy (CAP) welcomes the Singapore High Court’s latest order to block another 22 illegal streaming sites and 70 associated domains responsible for the distribution of illegally streamed content in Singapore.

The Court’s order follows on from a similar order obtained in Singapore by the Premier League in November 2024 and continues the push by its applicants BBC Studios, the Premier League, DFL Deutsche Fußball Liga and LALIGA, that in recent years has seen the blocking of hundreds of illegal streaming sites and hundreds more associated domains that were offering access to some of the most sought-after content in Singapore including live sports, drama and entertainment. The order is also part of a wider campaign by CAP and its members against online piracy in the region, including in-depth analysis into piracy trends in the region, and the harms caused to both consumers and the potentially wider impact from piracy services that are essentially illegal operations run by criminals.

“There is now extensive evidence of the links between piracy services and consumer harm, including risks of malware infection, identity theft and viruses. A 2024 study undertaken showed that consumers accessing pirate sites in Singapore are nearly four times more likely to be exposed to a cyber threat compared to a mainstream site(1), and blocking access to piracy services is a great step in preventing this type of harm,” said CAP’s General Manager, Matt Cheetham. “Recent research has also shown that piracy services could have wider potential harm, with illegal streaming devices (ISDs) shown to be riddled with compromised apps and pre-installed malware targeting personal data. These devices can be remotely hijacked and potentially used for more widespread attacks on other devices and broader networks(2)”, added Cheetham.

(1) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4709637
(2) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4986107

About the Asia Video Industry Association

The Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background please contact:

Charmaine Kwan, Head of Marketing and Communications | charmaine@avia.org
LinkedIn: www.linkedin.com/company/asiavideoia |X: @AsiaVideoIA

Asia Video Industry Association Wraps Up 2024 Harnessing the Power of Advertising to Spur the Industry Forward

Between December 4-6, the Asia Video Industry Association (AVIA) closed off 2024 with three days of high-level meetings and conferences, covering Piracy, Policy, the annual OTT Summit alongside the advertising Upfront Showcases from leading streamers and publishers and the Annual General Meeting. The conferences brought together over 300 international and regional industry executives.

Piracy Over The Top hosted by General Manager of the Coalition Against Piracy (CAP), Matthew Cheetham on 4thDecember saw a series of lively discussions with BBC Studios, beIN Sports, Meta, Malaysia’s Ministry of Domestic Trade and Cost of Living (MDTCL), NHK (Japan Broadcasting Corporation), Premier League, and TikTok, revolving around content protection, piracy trends, enforcement solutions and exclusive insights into what to expect in 2025. Key takeaways from these discussions highlighted the urgency of deeper collaboration between government, industry and intermediaries to clamp down on bad actors.

The annual AVIA Policy Roundtable held behind closed doors and under Chatham House Rules saw a very high number of regulators from all around the region engaged in conversation with industry about the challenges and opportunities both face.

The AVIA OTT Summit on 5th December this year turned to the world of advertising highlighting transformative trends and actionable insights for advertisers and media owners across the region. Kicking off the first session, Dhivya T, Lead Analyst – Head of Content & Platform Insights, Media Partners Asia (MPA), emphasized the growing shift to Connected TV (CTV) as traditional TV viewership declines, driven by its personalized, measurable appeal. CTV penetration is surging across APAC, with Japan and Korea expected to reach 80-85% active household penetration, and emerging markets like Thailand and Indonesia exceeding 50%. While user-generated content (UGC) dominates mobile platforms like YouTube and TikTok in Southeast Asia, premium streaming options like SVOD and Freemium retain significant scale. The Premium AVOD market in APAC (excluding China) is forecasted to grow at a 25% CAGR to over USD 8 billion over the next five years, with BVOD and SVOD as key drivers. Dhivya concluded by highlighting the growing opportunities in the Premium AVOD category and the undeniable dominance of YouTube and TikTok in mobile engagement.

Raj Parekh, VP & Head of Digital Sales, Mediacorp, emphasized the role of innovative and engaging ad formats in driving user engagement, a sentiment echoed by Kanika Manglik, Vice President-Investment Strategy at GroupM. Speaking on the trends to expect, Jason Barnes, Chief Revenue Officer APAC, PubMatic, highlighted ongoing market consolidation and the evolution of Connected TV (CTV) into a full-funnel solution. Kanika further noted the growing consumer preference for watching content on larger screens, underscoring the shift toward more immersive viewing experiences. Both, Anannya Paliwal, Regional Director – Digital Solutions, Omnicom Media Group Asia Pacific, and Sunil Naryani, President Partnerships & Product Solutions, dentsu APAC noted that the difference in production techniques between UGC and professional content may be narrowing, but the category and nature of content is likely to remain very distinct.

AI remains as one of the key trends to expect in 2025 for Jonathan Smith, SVP Product Data & Tech, GroupM and Anson Tan, Country Head – Singapore, Viu. Jonathan emphasized how generative AI is lowering barriers for smaller companies to create impactful advertisements while Anson highlighted the importance of collaboration between brands and agencies. Both Anson and Jonathan encourage advertisers to embrace experimentation and collaboration with media partners. In the other panel, Megan Reichelt, Country Manager, South East Asia, Hong Kong & Taiwan, Integral Ad Science, also foresaw a lot of close collaboration between tech parties and publishers to give confidence to advertisers while Christine Lau, Director of Yield Management, Viu, was confident that shoppable ads and deeper e-commerce integrations is expected to gain traction.

James Wildbore, SVP & GM Global Ad Sales, BBC Studios, underscored the importance of maintaining the trust of audiences through BBC Verify. As the industry is evolving with more consumers using smart TV, Jolene Sng, Head of Agency Development, Samsung Ads shared that around half of all smart TV shipments will be within APAC by 2027 and advertisers should understand their consumers to ensure effective ads on various platforms. The preference for large screen viewing experiences and the benefit of getting traditional TV advertising with a modern and cost-effective approach was once again mentioned by James Ross, CEO, Lightning International, and Bhuvnesh Kanwar, Vice President, Revenue and Head of FAST, KC Global Media. The push for standardized audience measurement metrics remains critical in the discussions around addressing the challenges in programmatic and measurements for Erin Williams, Sales Director, APAC, CNN and Yann Courqueux, VP Entertainment, StarHub Ltd.

In the closing discussion with AVIA’s CEO, Louis Boswell, on expanding content overseas, Ed Love, Head of Samsung TV Plus ANZ & South East Asia, Samsung Ads, highlighted how FAST (Free Ad-Supported Streaming TV) removes cost barriers, enabling efficient cross-market distribution. Having launched with 20 channels in the Philippines, Singapore and Thailand they are looking to aggressively grow this number and partnerships are key to this. Sharing insights into their plans over the next 12 months, Ed stressed that the focus will be on “local, local, and local”, leveraging FAST’s lower market entry barriers to create a compelling linear offering.

Running parallel to the OTT Summit, the Upfront Showcase spotlighted cutting-edge content and advertising opportunities from leading streaming and broadcasting publishers BBC Studios, iQIYI, Samsung Ads, StarHub and Viu. Attendees were treated to an exciting half day of insight and innovation.

At the Annual General Meeting AVIA were pleased to announce the appointment of two newly elected Board members: Debra Richards, Director – APAC Content, Studio & Production Affairs – ANZ Public Policy, Netflix and Tim Harris, Vice President Transactional Sales and Emerging Media Asia Pacific, Sony Pictures Entertainment. AVIA also wishes to express its thanks to Yoly Crisanto, Chief Sustainability and Corporate Communications Officer, Globe, and Nick O’Donnell, former APAC Head of Public Policy of Netflix, for their contributions during their tenure.

Also at the AGM, AVIA paid tribute to Matt McDonald, Senior VP and GM at Sony Pictures Television. He was presented with an award for distinguished service to the Asian video industry after many years of leading initiatives from ensuring channel frequencies were not affected when 5G services were rolled out to helping manage continuity of services throughout the pandemic, and especially in the first wave of lockdowns.

Thanks to NBCUniversal and Netflix for their support for the Policy Roundtable. The OTT Summit was proudly sponsored by Gold Sponsors Irdeto, Publica and TV5MONDE; and Silver Sponsors INVIDI, Magnite, PubMatic and Shemaroo

Visit our media gallery for photos from event.

About the Asia Video Industry Association

For media enquiries and additional background information, please contact:
Charmaine Kwan | Tan Teck Wee
charmaine@avia.org | teckwee@avia.org
www.avia.org | www.linkedin.com/company/asiavideoia|X: @AsiaVideoIA

THE TRIFECTA FUNHOUSE Brings Orchard Road Alive with a Free New Year’s Eve Celebration!

Registration Opens December 5th—Limited release of 1,000 tickets for one night of free food, free interactive games, and free beats from DJs redefining the sound collide!

This New Year’s Eve, TRIFECTA, the world’s first Surf-Snow-Skate and lifestyle destination on Orchard Road, will host a showstopping New Year’s Eve celebration THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party. This vibrant carnival-themed event offers entry to a night of free carnival treats redeemable with dining coupons, entertainment and games. With an exceptional musical line-up, dynamic roving performances, and a limited release of just 1,000 tickets, pre-registration is a must to guarantee your spot.

Known for breaking the mold, TRIFECTA champions local and regional emerging talent, and established artists pushing the boundaries of music, art, and culture. This New Year’s countdown party, with its vibrant carnival theme, is a perfect showcase of TRIFECTA’s commitment to the spirit of creative expression.

TRIFECTA’s New Year’s Countdown: A Carnival of Sound Celebrating Asia’s Boldest Musical Talent

As Singapore’s leading champion of creative music and with a legacy of hosting iconic music events like TRIFECTA Backyard Sessions and the TRIFECTA Music Festival, the countdown party will be a celebration of bold creativity and the vibrant energy of Asia’s independent musical innovators.In a spectacular fusion of carnival fun and cutting-edge sound, TRIFECTA’ Snow Arena will transform into the heart of the night’s musical experience. This electrifying zone will double as the DJ booth, where an exceptional lineup of Singaporean and regional artists will bring the beats to life, creating an atmosphere that pushes the boundaries of sound and artistic freedom.

THE TRIFECTA FUNHOUSE musical headlining acts are:

WILD PEARL
Born from a collective desire to experience music live, loud, and with friends, Wild Pearl is a dynamic duo composed of Andy and Chris, who are on a mission to bring music-centric experiences to Singapore’s crowds. Their performances are deeply rooted in community, sustainability, and wellness, with a focus on connecting global audiences through events and collaborations. This event will feature co-founder Chris Shearmon, and their Radio Producer Leland, who will both deliver an hour’s set.

STRANGEWEATHER
Fueled by a deep respect for heritage and an eagerness to push sonic boundaries, Strange Weather is a Singapore-based collective with a mission to unite like-minded individuals across Southeast and East Asia. Their sound navigates between heavy percussion, post-punk, and eclectic electronica driven by hypnotic rhythms. A’alely, a core founding member of the collective, will represent the crew.

HYPERFOCUS
Genre-fluid and effortlessly cool, Dan blends aggressive percussion with rhythms from Latin club beats, hard drums, and techno, creating a high-energy performance that brings forth his concept of “the New Masculine.” Alongside Z, Dan has redefined Singapore’s underground rave scene with a fiercely DIY ethos. Hyperfocus is now a cultural movement, hosting international icons like LU2K, DJ G2G, and Bulma, while championing regional stars such as Tikkoii and 918.Kiss.Jackpot. The duo’s vision continues to energize and inspire, creating a magnetic hub for raw creativity and unfiltered energy.

BUSSY TEMPLE (Howrøng & METAMOKSHA)
Known for their unapologetically avant-garde soundscapes, howrøng crafts a sonic experience that oscillates between ritualistic percussion, break-noise, and industrial club. As co-founder of the collective Bussy Temple,’ howrøng brings moments to life, spanning techno, experimental deconstructed club, and more. Known for performances at underground techno events in Singapore and South East Asia, they have also opened for international heavyweights like Tommy Four Seven and Dana Montana.

Co-founder Metamoksha is an organizer, artist, and DJ for Bussy Temple and the DJ collective 3NiTi.

Metamoksha’s sets are nothing short of heartfelt odysseys and sweet agonies – taking us through the throes of bad romances, forehead kisses and sleepless nights. Intense yet intimate, unyieldingly raw, and evocative yet tender.A driving force in Southeast Asia’s underground scene, Metamoksha has played across notable underground clubs and collectives around the region, including Arcan Anniversary in Ho Chi Minh, Red Room in Yangon Myanmar, Non Non Non in Bangkok, Under9 in Kuala Lumpur, and leading Singapore collectives like Endless Return and Midnight Shift.

rEmPiT g0dDe$$
Victoria Yam is a prominent figure in Southeast Asia’s underground scene, deftly navigating between two experimental projects: VIKTORIA and rEmPiT g0dDe$$. Known for her forays into industrial club music, she has performed at major festivals like Maho Rasop Festival (Bangkok) and Final (Taipei). Her performances have taken her across Asia, Canada, and Europe, including the Boiler Room for Maho Rasop, the Oram Awards in London, and Venus Fest in Toronto.

PRONTAXAN
A fusion of Funkot and regional sounds from Yogyakarta, PRONTAXAN disrupts conventional party norms by curating mixes of electronic music, dangdut, campursari, and Archipelago sounds. Known for using YouTube and MP3 controllers to remix their sets, PRONTAXAN is a trailblazer in Funkot, creating an eclectic vibe that bridges cultures and social classes through infectious beats. PRONTAXAN’s unique sound resonates with audiences across Southeast Asia, shaking up the boundaries of electronic dance music.

TRIFECTA Transforms Its Snow, Surf and Skate Arenas for an Unforgettable Carnival Fiesta

For THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party, TRIFECTA is transforming every inch of its Snow, Surf, and Skate Arenas into immersive carnival-themed zones, each brimming with interactive activities and entertainment for all to enjoy.

Snow Arena: Free Costume Rentals & Face Painting
Step into a whimsical winter wonderland as TRIFECTA’s Snow Arena is transformed into a magical carnival experience. Guests can immerse themselves in the fun with free on-site costume rentals, from shimmering mermaid tails to swashbuckling pirate attire, all while enjoying creative face painting to bring their carnival spirit to life.

Surf Arena: Classic Carnival Games & Interactive Fun
The Surf Arena is taking you on a nostalgic journey with a modern carnival twist. Guests can dive into classic carnival-style games such as the Ultimate Puncher and the Basketball Twin Arcade Machine, while interactive photo booths offer fun, memorable snapshots of the night. Whether you’re testing your strength or capturing fun moments, this zone is filled with playful competition and surprises at every turn.

Skate Arena: Fire Spinners, Breath Takers & Roller Disco
TRIFECTA’s Skate Arena becomes the stage for thrilling fire performances as fire spinners and breathers light up the night with their dazzling, hypnotic displays. The carnival atmosphere intensifies with their rhythmic, fiery artistry, sending sparks through the crowd in awe-inspiring fashion. The Skate Arena also hosts roving contortionists, unicyclists, and stilt walkers, creating a truly larger-than-life experience as they twist, spin, and glide through the festivities.

TRIFECTA’s iconic roller skate bowl transforms into a carnival-inspired Roller Disco! Guests can glide to upbeat music under dazzling lights, filling the night with vibrant energy, fun, and a splash of retro nostalgia. It’s all about freedom, movement, and skating to the beat in a truly electrifying carnival atmosphere!

Rooftop Deck: Mirror Men, Magicians & Acrobatic Performances
The transformation continues on the Roof, where guests can witness mind-bending performances by Mirror Man, whose shifting reflections blur the line between illusion and reality. Magicians will conjure the impossible right before your eyes, and acrobats will defy gravity with breathtaking feats of strength and precision, all adding to the carnival thrill. Additionally, Leviwand Performers will enchant the crowd with their fluid movements, making this corner of the Funhouse an awe-inspiring experience for all who visit.

Fringe Activities: Circus-Themed Fun Around Every Corner
Throughout the event, TRIFECTA’s carnival-themed experiences continue to surprise and delight. Guests can experience magical face and jewel makeup artistry to complete their festive look. For those seeking a mystical touch, tarot card readings by skilled psychics offer an enthralling glimpse into the future, adding an air of mystery to the night.

TRIFECTA Funhouse Branded Photo Booth
Capture your carnival memories with TRIFECTA Funhouse’s branded photobooth. Whether you’re posing with friends or getting into character with your costume, this enclosed photo booth provides the perfect spot for creating fun, lasting memories throughout the night.

Complimentary Carnival Fare in the Surf Arena

Registered ticketholders can indulge in a delightful array of complimentary bite-sized carnival-inspired dishes at the Funhouse, served within the vibrant Surf Arena. Available on a first-come, first-served basis, the tantalizing menu includes:

Flying Tacos – Savour the bold flavours of chicken, beef, or cauliflower tacos, served with crispy nachos for a satisfying, vibrant bite.
Flip N Dip Pancakes & Ice Cream – Indulge in fluffy pancakes topped with creamy ice cream – sweet, decadent, and perfectly paired.
Dogs for Days – Elevate your classic hot dog with kimchi, cheese, and char siew for a delicious twist on a carnival favourite.
Fisherman’s Friends – Enjoy crispy fish and chips with a modern touch, bringing a fresh, delicious take on a classic favourite.
The Mad Pig – Bite into juicy German pork belly, roasted to perfection for a mouthwatering experience.
Sweet Tooth – Relish nostalgic carnival treats like fluffy candy floss and freshly popped popcorn

While carnival treats can be enjoyed for free with redeemable coupons,and until supplies last, guests can enjoy a variety of beverages throughout the evening. William Grant & Sons proudly serves as the official spirits partner, and guests can also explore a selection of beers and premium spirits catered by Yeastside — the only paid component of the event.

Registration for The TRIFECTA Funhouse Opens 5th December

Entry to THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party is entirely free, with complimentary access to all activities, games, and dining coupons for carnival treats, while supplies last. Alcoholic beverages will be available for purchase and are restricted to guests aged 18 and above.With limited capacity and high demand, pre-registration is essential to guarantee your entry. Join us at The TRIFECTA Funhouse, where creativity takes centre stage, and the New Year begins with bold expression and unrestrained creativity. Registration details can be accessed HERE.

THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party Snapshot:
Date: 31st December
Time: Entry from 5pm — 3am
Location: TRIFECTA, 10A Exeter Road, Singapore 239958
Nearest MRT: Somerset MRT, Exit A
Admission: All pre-registered guests enjoy free access to the party, games, and activities
Food: Dining coupons for bite-sized food portions will be available to all registered guests throughout the evening while supplies last—early arrivals highly encouraged
Alcohol: Alcoholic beverages available for purchase (18+ only).
Capacity: 1,000 guests (pre-registration required)
Carnival Chic: Carnival-inspired dress code is encouraged. Prizes will be awarded for the boldest, most imaginative look.

THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party is a ONE Countdown 2025 event. As part of SG60, ONE Countdown 2025 celebrations will bring everyone together to usher in the new year, with celebrations across the island. Find out more about ONE Countdown 2025 at: https://go.gov.sg/onecountdown2025.

Note to Editors:
– High-resolution images of musical acts, F&B booths and key visuals can be accessed HERE.
– Access complete line-up of THE TRIFECTA FUNHOUSE: A New Year’s Countdown Party musical talent, activities, F&B booths and more, visit:https://funhouse.trifectasingapore.com/

About TRIFECTA

Opened on 28 October 2023 by Singapore adventure sports company, The Ride Side, TRIFECTA is Asia’s first surf-snow-skate destination, offering surfing, snowboarding, skiing and skating all in one place, in one day in the heart of Singapore. Bringing mountains and waves to the tropics, TRIFECTA is a space for self-expression and aims to build a new culture of youthful collaboration, bringing like-minded boardsports enthusiasts and lifestyle experience seekers together.

For TRIFECTA FUNHOUSE New Year’s Countdown media interviews, press enquiries and event passes, please contact:

Wani Diwarkar
wani@prbespoke.com
+65 9832 0643

Paulene Lynch
paulene@prbespoke.com
+65 9057 4101

Saloni Rishiraj
saloni@prbespoke.com
+65 8344 4482

HAIN, the Power of Turkish Cinema

Turkish cinema is hosting a new production that draws attention with its strong script, unique cast and use of new generation cinema technologies. “Hain”, which will be released on December 13, drags the audience into an international espionage story.

The movie, produced by Fix360 Entertainment, is written and directed by Berke Uzrek. The cast of the movie consists of young and masterful names such as Haldun Dormen, Mustafa Alabora, Erkan Petekkaya, Yurdaer Okur, Meltem Beydilli, Ali Dusenkalkar, Itr Esen, Zeynep Sarlgil, Engin Benli, Umit Crak and Elif Bilgetekin.

A Production That Will Make Turkiye Proud

“Hain” is not just a movie, but is poised to create a strong wave of excitement in movie theaters as it is positioned as a work that reinforces Türkiye’s national and international stance and brings its deep-rooted military and strategic tradition to the cinema.

Emphasizing Turkiye’s power and competence in the field of intelligence, “Hain” also carries the deep-rooted military past and heroic tradition of the Turks to the present day in the subtext. Hain (Traitor), which locks the audience on the edge of their seats with its complicated plot and suspenseful scenes and deals with the Turkish agent’s plan to overcome them by unraveling the relationships within the organization, deals with the realization of a long-awaited showdown with a new knot and solution in each scene.

The Modern Face of Turkish Intelligence: Hain

This gripping story, deals with the power of Turkish intelligence; basically, it is about the struggle of one of the best agents of the intelligence to resist the difficulties that come her way. This production, full of action and suspense, is preparing to offer the audience a breathtaking adventure in the cinema. Turkish intelligence, which has come to the forefront on the world stage in recent years; is also represented with all its power in the movie “Hain”. The agent character, who plays the lead role in the movie, draws attention with her highly educated, intelligent and determined stance.

About Fix360 Entertainment

Fix360 Entertainment is a film and series production company that transforms imagination into reality under CapitalTurk Holding. The company, which aims to offer unforgettable experiences to viewers by bringing together innovation, visual aesthetics and emotional depth in storytelling, appeals to local and international audiences with its content. At the same time, Fix360 Entertainment brings the latest stories to the screen with the understanding of setting a new standard in the sector.

For more information, visit: https://fix360entertainment.com
For enquiries, email: info@fix360.com

Spikes Asia announces its 2025 Juries

Mongolia will be represented on the Jury for the first time

Spikes Asia, APAC’s most prestigious and sought-after Award for creativity and marketing effectiveness, has revealed its 2025 Jury line-up.

First-time brands represented on the line-up are Flipkart and easypaisa – Telenor Microfinance Bank. Other brands and platforms represented on the Juries include Grab, Meta, Nestlé, TikTok, Unilever and Warner Music Asia. Among agencies and networks represented are Choojai and Friends, GForce Kazakhstan, IDEOT, Monks India and One Green Bean.

Commenting on the Jury line-up, Mandy Neo, Director, Spikes Asia, said: “We are thrilled to announce the Jury for Spikes Asia 2025, and we are especially proud to welcome Mongolia to the Jury for the first time. Our Jurors’ expertise and vision will be instrumental in celebrating the groundbreaking work that defines Asia–Pacific’s creative excellence. We look forward to their insights as they help set new standards of innovation, showcasing how APAC’s most creative businesses harness creativity to drive growth and progress.”

The 2025 Jury includes Mongolia’s first-ever representative, Bilguun Munkhjargal, Founder and Managing Director of Whyze, who will serve on the Audio & Radio, Film, and Print & Publishing Jury. Munkhjargal added: “Spikes Asia has always been the region’s benchmark for creative communications and strategy, and Mongolia is no exception. It’s a tremendous honour to represent Mongolia on the Spikes Asia Jury this year, and I am delighted that there is more and more participation and representation from Central Asia with each passing year. I look forward to witnessing the amazing work from all over APAC with my fellow Jurors.”

Simon Cook, CEO, LIONS, commented: “Our Jurors play a vital role in setting the creative benchmark for APAC and we are delighted to see representation from a broad range of agencies, brands and companies allowing a diverse range of perspectives in the Jury rooms. I’d like to extend my gratitude for their hard work in curating the work that will go on to be awarded and recognised in 2025.”

The Spikes Asia 2025 Juries have been named as:

Audio & Radio, Film, Print & Publishing
Ashish Chakravarty, Executive Director & India Head of Creative, McCann Worldgroup, India
Bianca Fernandez, Executive Creative Director, DDB, the Philippines
Bilguun Munkhjargal, Founder / Managing Director, Whyze, Mongolia
Hilary Badger, Executive Creative Director, Ogilvy, Australia
Jesse Wong, Global Creative Director, Cheil Worldwide, Global
Khalid Osman, Co-Founder, Creative Partner, BLKJ Havas, Singapore
Kimberly Chin, Music Composer / Creative Director, Pitch Audio+Magic, Malaysia
Phairat Uaphadunglert, Executive Creative Director / Co-Founder, Choojai and Friends, Thailand

Brand Experience & Activation, Creative Commerce
Gary Steele, Chief Creative Officer, DDB New Zealand, Aotearoa New Zealand
Aden Hepburn, CEO, Akcelo, Australia
Defri Dwipaputra, Executive Creative Director, Dentsu Creative, Indonesia
Krystle Morais, Creative Director, VaynerMedia Thailand, APAC
Mukund Olety, Chief Creative Officer, VML, India
Nonthaporn Ketmanee, Senior Creative Director, Publicis Groupe, Hong Kong SAR
Rifah Qadri, Executive Director Marketing and Corporate Communications, easypaisa – Telenor Microfinance Bank, Pakistan
Theresa Ong, Head of Creative Shop, Meta, Southeast Asia and India

Creative Data, Innovation
Julie Jihyun Kang, CEO and Managing Partner, Serviceplan Korea, South Korea
Ayshwarya Sharma, Executive Creative Director, Innovation, Leo Burnett, India
Ivy Shao, SVP, Weber Shandwick, Mainland China
Javed Jafri, Media, Digital and Data Lead, Unilever, Pakistan
Masatoshi Usami, Senior Creative Director, TBWA\HAKUHODO, Japan
Raymond Chin, Chief Creative Officer Innovation APAC, VML, APAC
Storm Day, CEO, Droga5 Aotearoa and NZ Lead Accenture Song, Aotearoa New Zealand

Creative Effectiveness, Creative Strategy
Lindsey Evans, Global Partner and CEO Special Australia, Special Group, Australia
Bitop Das Gupta, SVP and Head of Strategy, Grey Group, Bangladesh and Pakistan
Charlotte Auyeung, Head of Strategy, McCann, Japan
Murtaza A Tajbhoy, Senior Consultant, Stax LLC, North America, Europe and Sri Lanka
Preeti Kumar, Global Client President, Dentsu, Global
Robert Campbell, Chief Strategy Officer, Colenso BBDO, Global

Design, Industry Craft
Kainaz Karmakar, Chief Creative Officer, Ogilvy, India
Ben Miles, Chief Design Officer, APAC, R/GA, APAC
Carina Teo, Executive Creative Director, Regional, Grab, Southeast Asia
Mariko Tozawa, Creative Director, TBWA\HAKUHODO, Japan
Nari Moon, Creative Director, INNOCEAN, South Korea
Phoebe Devine, Partner, Head of Design, Previously Unavailable, Aotearoa New Zealand
Zokir Khalmatov, Art Director, MA’NO Branding, Central Asia

Digital Craft, Social & Influencer
Kazuhiro Shimura, Group Creative Director, Dentsu Inc., Japan
Chew Wee Ng, Head of Business Marketing, TikTok, APAC
Hao Tseng, Creative Director, Digital Innovation Lead, Leo Burnett, Taiwan
Mahima Kukreja, Senior Creative Director, Monks, India
Nikki Sunga, Creative Director, BBDO Guerrero, the Philippines
Yinbo Ma, Chief Creative Officer, Havas, Mainland China
Yuliya Tushina, CEO, GForce Kazakhstan, Central Asia

Direct, Outdoor
Ronnie Wu, Chief Creative Officer, TBWA\China, Mainland China
Angie Tijam – Tohid, Executive Creative Director, Havas Ortega Group, the Philippines
Kim Pick, Group Executive Creative Director, VML, Aotearoa New Zealand
Nikita Yermolayev, Creative Director, RA Kombinat, Kazakhstan
Rohit Malkani, Chief Creative Officer, Saatchi & Saatchi, India
Seung jae Lee, Chief Creative Officer, IDEOT, South Korea
Shiny Hsin-Ning Lee, Creative Director, Whatever, Taiwan
Tomoko Kanezaki, Group Creative Director, Dentsu Inc., Japan

Entertainment, Gaming, Music
Damisa Ongsiriwattana, Chief Creative Officer and Co-Founder, SOUR Bangkok, Thailand
Becky Yeung, Regional Head of Brand Partnerships, Sync and Business, Warner Music, Asia
Carl Urgino, Head of Art, Leo Burnett, the Philippines
Guy Futcher, Regional Executive Creative Director, Octagon, APAC
Johanna Egger, VP Games and Emerging Tech APAC, DEPT® Agency, APAC
Ryan Liao, Executive Creative Director, Dentsu Creative, Taiwan
Takaya Mitsunaga, CEO / Creative Director, Artist, HYTEK Inc., Japan

Film Craft
Declan Cahill, Managing Director, Exit Films, Aotearoa New Zealand
Asma Humayun, Proprietor, Director and Producer, Shiny Toy Guns, Pakistan
Kopal Naithani, Founder and Director, Superfly Films Pvt. Ltd., India
Lily Li, Managing Director, The Mill, Mainland China
Naoko Tajima, Director, Wonderworld Inc., Global
Peter Kirk, Creative Director, Campfire x, Global
Zac Ong, Creative Director, TBWA\Media Arts Lab, Singapore

Healthcare
Shunsuke Kakinami, CEO and Creative Director, FOUR FEET Inc., Japan
Narve Thakrar, Managing Partner, DDB Remedy, APAC
Rikki Jones, President, GCI Health Asia-Pacific and CEO, Burson Group Singapore
Sachin Talwalkar, Chief Creative Officer, Havas Life Mumbai, India
Shraddha Tawate, SVP Global Strategy, Klick Health Asia Pacific, Global

Media
Helen McRae, Chief Growth and Marketing Officer, GroupM Asia Pacific, APAC
Eileen Ooi, CEO APAC, PHD, APAC
Hai Anh Vu, General Manager, Publicis Groupe, Vietnam
Jay Lee, Executive Creative Director, MBCS, Hong Kong SAR
Pratik Shetty, Senior Director Marketing, Flipkart Internet Pvt Ltd, India
Richard Frampton, Chief Strategy Officer, Dentsu, Mainland China
Virginia Hyland, CEO, Havas Media Network, AUNZ

PR
Margaret Key, CEO, MSL APAC and Global Lead on Samsung, Publicis Groupe, Global
Amber Abbott, Managing Director, One Green Bean, Australia
Hung Khuat Quang, Director of Corporate Affairs, Nestlé, Vietnam
Karan Bhandari, Managing Director, Integrated Media Strategy, Weber Shandwick, India
Mina Sakai, Chief Consultant, PR Consulting Dentsu Inc., Japan
Norman Agatep, Chairman and CEO, Grupo Agatep, the Philippines
Tim Green, Chief Creative Officer, Edelman, APAC

Entries into Spikes Asia are being accepted until 28 January 2025. Further information on the Awards can be found at www.spikes.asia.

About Spikes Asia

Spikes Asia, the home of Asia-Pacific creativity, is the region’s oldest and most prestigious awards for creative advertising. Building on over 35 years of the illustrious Spikes Awards and Tangrams Strategy & Effectiveness Awards, Spikes Asia is the result of a collaboration between Ascential, part of the Informa Group and organiser of Cannes Lions, and Haymarket, publisher of Campaign Asia-Pacific.

Spikes Asia celebrates creative excellence in the Asia-Pacific region alongside learning and networking opportunities. The Awards serve as the definitive benchmark for creative excellence, marketing strategy and effectiveness in Asia-Pacific. www.spikes.asia

About LIONS

LIONS is part of Ascential. Ascential takes the world’s leading brands to the heart of what’s next for their industries. We do this through our events, intelligence products and advisory services. Our 700 people serve a global customer base from more than 100 countries in the large and growing Marketing and Financial Technology sectors. Ascential is part of the Informa Group. www.lionscreativity.com

About Haymarket

Haymarket Media Group creates award-winning specialist content and information for international audiences. The company has more than 70 market-leading brands created by world-class experts in locations in the UK, the US, Hong Kong, Singapore, India and Germany. Haymarket’s consumer and professional brands connect people and communities across digital, mobile, print and live/virtual media platforms. Although Haymarket’s portfolio is diverse, its mission is the same across borders and markets: to deliver brand experiences which truly meet the needs of its audiences and clients. Haymarket’s brands include Campaign, PRWeek, What Car, Autocar, AsianInvestor and Finance Asia. www.haymarket.com

Contacts:

Mandy Neo
Director
Spikes Asia
Mandyn@spikes.asia

Camilla Lambert
PR Director
LIONS
Camillal@canneslions.com

Tash Naidoo
Senior PR Manager
LIONS
Tashn@canneslions.com

Headshots:

You can download official headshots of the Spikes Asia Juries here.

Press Portal:
press.canneslions.com

Awards queries:
awards@spikes.asia

AVIA’s Inaugural ‘Japan In View’ Highlights Japan’s Streaming Potential and The Future of Digital Entertainment

The Asia Video Industry Association (AVIA) held its very first Japan focused industry event, Japan in View, on 29th October at the Andaz Tokyo, bringing together over 130 international and regional players from across the video and streaming industry.

The conference opened and dove straight into the streaming potential of Japan, with Shinjiro Ninagawa, Executive Managing Director and Chief Operating Officer, TVer INC., sharing his ambitions of growing TVer to 3 times as large as it was now, with the business doubling over the next 2 – 3 years. Yu Sasamoto, CEO of Japan and Asia, DAZN, also said that Japan was still at the tipping point of the shift and transformation from traditional linear programming to digital services, and he expected more disruption from new players, with the landscape shifting significantly in the next 5 years.

Sam Yousif, Vice President, AMPD Analytics (an MPA company), further expanded on the opportunities for Japan, opening his session describing Japan as “a lucrative, consistently growing multi-billion-dollar industry with a complex competitive landscape and unique customer behaviour.” In Asia (excluding China), Japan was the largest VOD market in terms of revenue with US$6B in 2024, almost two times bigger than the next biggest market, Australia. Revenue had also been growing near double digits every year in the past four years, with a CAGR of 17% from 2020 – 2024, an astounding number for a market this size. VOD consumers also had diverse options, both within and outside of the industry, with VOD only representing 6% of their free time. Japanese consumers also exhibited unique viewing behaviour not seen across other markets, including a distinct preference for local content. 78% of the total hours viewed on VOD in Japan was with Japanese content, with 93% of VOD users consuming Japanese content, and US content only at 16%. And interestingly, there was also a large, shared economy where the top titles, mostly anime, were shared across all the platforms. “With so much content shared across so many platforms, it feels more like a streaming cooperation in Japan than a streaming war,” added Louis Boswell, CEO, AVIA.

However, beyond anime, panelists believed that Japan was only scratching the surface in terms of the international opportunity for the export of its content. “If the industry can turn and create content that can be appealing both for Japanese audiences and globally, it’s enormous value and enormous opportunity,” said David Shin, Executive Producer, ICONIQUE PICTURES. What was key was to take the wonderful stories that were indigenous to Japan and elevate them with a high level of storytelling that could propel the industry and that content overseas, added Shin.

And with the success that Korean content has had internationally, Sun Hong Min, Chief Content Officer, TVING, shared that the foremost reason behind TVING’s impressive growth this year was their strategic partnership with leading content providers, that enabled them to offer a diverse arrangement of high-quality premium content that resonated deeply with their users. Min was also of the opinion that local content could resonate on a global scale by combining universal human elements with a narrative deeply rooted in local history, culture and sentiment.

Partnerships was also key to growing the business for Buddy Marini, General Manager – Japan, Warner Bros. Discovery, across both linear and streaming, having recently announced a new partnership with U-Next to launch Max in Japan. For local giant J:COM, Kaz Sasajima, General Manager, Media Business Division, the digital domain too represented room for growth, particular in the space of professionally produced content. And wrapping up in the closing panel, for Alexandre Muller, Managing Director, APAC, TV5MONDE, AI was presenting new possibilities, notably in terms of providing greater access to content across multiple languages. “Definitely the place to be is in Asia Pacific, and this is really where the growth is and I can see growth both in linear and as well as on OTT,” added Muller.

Japan in View is proudly sponsored by Lead Sponsor Cultural and Creative Industries Development Agency (CCIDA); Gold Sponsors Akamai, Magnite and Publica; Silver Sponsors INVIDI and TV5MONDE.

Visit our media gallery for photos from event.

About the Asia Video Industry Association

For media enquiries and additional background information, please contact:
Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org | Website: www.avia.org
LinkedIn: www.linkedin.com/company/asiavideoia |Twitter: @AsiaVideoIA

Disclaimer: The Cultural and Creative Industries Development Agency of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organisers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Culture, Sports and Tourism Bureau, the Cultural and Creative Industries Development Agency, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.

Hong Kong Films @ Tokyo 2024

Highlighting Hong Kong’s vibrant film industry

The Hong Kong Film Development Council, Cultural and Creative Industries Development Agency and Hong Kong Trade Development Council (HKTDC) are jointly organising Hong Kong Films @ Tokyo 2024 at TIFFCOM on 30 October to 1 November during the Tokyo International Film Festival (TIFF).

The debut Hong Kong Pavilion aims to showcase the dynamism of Hong Kong film industry, while a series of events, including seminars, a master class and the Hong Kong Night, will enable industry professionals to connect, exchange ideas and forge partnerships with international filmmakers.

Sponsored by the Hong Kong Film Development Council, the Hong Kong Pavilion will bring together leading film distribution and production companies from Hong Kong, promoting the latest productions and exploring potential business opportunities. These companies, include A Really Happy Film (HK), Cappu Films, Edko Films, Emperor Motion Pictures, Golden Scene, MakerVille, Media Entertainment, Entertaining Power, Media Asia, mm2 Hong Kong, HKIFF Industry and Metason.

Two public seminars will be held for industry professionals and film enthusiasts to share insights. Producer Stanley Kwan, Director Daishi Matsunaga and screenwriter Jun Li of All the Things We Have Done Wrong will engage in a discussion with 38.83 producer Shunsuke Koga and director-screenwriter Vincci Cheuk to share their insights and challenges in co-production. These two Hong Kong-Japanese co-productions have received accolades from the Hong Kong-Asian Film Collaboration Funding Scheme, which aims to facilitate exchange and mutual learning through film collaboration.

In another seminar, “Martial Arts on the Silver Screen: Past, Present, and Future”, two renowned martial arts masters Sammo Hung from Hong Kong and Kurata Yasuaki from Japan, together with renowned Japanese choreographer and director Tanigaki Kenji will delve into the evolution of martial arts cinema. They will also explore how innovative technology complement traditional martial arts in modern action films, unlocking more creative possibilities.

Mr Hung will also give a master class, during which he will share his decades-long experiences and journey as an actor, action choreographer and director.

Hong Kong films are enjoying a strong presence at TIFF. Papa, directed by Philip Yung and starring Sean Lau and Jo Koo, has been shortlisted for Competition and will have its world premiere during the Festival.

Other notable selections from Hong Kong include The Last Dance, directed by Anselm Chan, which explores the issues of life and death, co-starring two generations of film comedians Dayo Wong and Michael Hui. The film has been selected for the World Focus section.

Montages of a Modern Motherhood, directed, written and produced by Oliver Chan Siu-kuen, which has been selected for the Women’s Empowerment section. The film, starring Hedwig Tam and Lo Chun Yip, tells the story of modern challenges of motherhood.

Competing in the Asian Future section, Valley of the Shadow of Death is a feature film directed by emerging directors Jeffrey Lam Sen and Antonio Tam, starring Anthony Perry Wong, Louisa So and George Au.

Action film Twilight of the Warriors: Walled In, directed by Soi Cheang and starring Louis Koo, Sammo Hung and Raymond Lam, which has garnered attention at multiple international film festivals, has been selected for the Gala Selection section.

Leading Hong Kong actor Tony Leung will serve as Jury President of the International Competition at TIFF. Other jury members include renowned Hong Kong filmmaker Johnnie To, alongside filmmakers and actors from around the world.

You can view exhibitor and event details at https://hkservices.hktdc.com/tc/s/Tokyo-International-Film-Festival-1024-TIFFCOM

Photo Download:https://bit.ly/40gK1n2

Media enquiries
For enquiries, please contact HKTDC Communication and Public Affairs Department:

Johnny Tsui Tel: (852) 2584 4395 Email:johnny.cy.tsui@hktdc.org

HKTDC Newsroom:http://mediaroom.hktdc.com/en

About the HKTDC
The Hong Kong Trade Development Council (HKTDC) is a statutory body established in 1966 to promote, assist and develop Hong Kong ’s trade. With 50 offices globally, including 13 in Mainland China, the HKTDC promotes Hong Kong as a two-way global investment and business hub. The HKTDC organises international exhibitions, conferences and business missions to create business opportunities for companies, particularly SMEs, in the mainland and international markets. The HKTDC also provides up-to-date market insights and product information via research reports and digital news channels. For more information, please visit: www.hktdc.com/aboutus.

Hong Kong Film Development Council
The Hong Kong Film Development Council (FDC) was established on 15 April 2007. The main role of FDC is to advise the Secretary for Culture, Sports and Tourism on the policy, strategy and institutional arrangement for the promotion and development of the film industry, as well as the use and allocation of public funds to support the industry.

https://www.fdc.gov.hk

Cultural and Creative Industries Development Agency
The Cultural and Creative Industries Development Agency (CCIDA) established in June 2024, formerly known as Create Hong Kong (CreateHK), is a dedicated office set up by the Government of the Hong Kong Special Administrative Region (HKSAR Government) under the Culture, Sports and Tourism Bureau to provide one-stop services and support to the cultural and creative industries with a mission to foster a conducive environment in Hong Kong to facilitate the development of arts, culture and creative sectors as industries. Its strategic foci are nurturing talent and facilitating start-ups, exploring markets, promoting cross-sectoral and cross-genre collaboration, promoting the development of arts, culture and creative sectors as industries under the industry-oriented principle, and promoting Hong Kong as Asia’s creative capital and fostering a creative atmosphere in the community to implement Hong Kong’s positioning as the East-meets-West centre for international cultural exchange under the National 14th Five-Year Plan.

www.ccidahk.gov.hk

Empowering Audiences: The Role of Content and Connectivity in Vietnam’s Media Evolution

Over 100 industry delegates from across Asia gathered at the Asia Video Industry Association’s (AVIA) Vietnam in View conference, opened by the Deputy Director General of the Authority for Broadcast and Electronic Information (ABEI), Nguyen Ha Yen, on 9 October in Ho Chi Minh City.

Despite the challenges of 2023 in the post-Covid landscape, the pay TV market in Vietnam continued to evolve, achieving a 4% increase in revenue and a 14% rise in subscriptions compared to 2022, as noted by Deputy Director General Nguyen. He emphasized that, amid fierce competition and rapid changes in consumer behaviour and technology, developing new business models for sustainable growth was essential for the future of pay TV. Both regulatory bodies and industry leaders will play crucial roles in shaping this strategic direction, he added.

This was further reiterated by Thanh Vu, Deputy Regional Managing Director and Representative, US-ASEAN Business Council, in his market overview of Vietnam. Vietnam was fast approaching market maturity, with total subscriptions at almost 20 million, with 5.8% annual growth since 2018. And with pay TV penetration at 66%, there was still lots of room for growth, shared Thanh Vu. However, the clear winner was OTT and IPTV, which had become mainstream, and its revenue share accelerating from just 11% in 2019 to 45% by end of 2023, almost catching up with cable TV. Despite a sharp decline in subscriptions over the past 4 years and a modest subscription share of only 20% today, cable still accounted for over 50% of total Pay TV revenue.

However regardless of platform, content very much remained the key driver for consumers, and critical to the business, said Pham Thanh Phuong, Managing Director, Viettel TV360. Offering the largest mobile and fixed-line network infrastructure in the Vietnamese market, with up to 80 million mobile broadband subscribers, bundling television and fixed broadband services was essential for them, and the smartest and fastest way to acquire the largest television customer base at the lowest cost and in the shortest time. But to keep their customers in the ecosystem, differentiation was important, especially from the international OTT platforms. “When we invest in local content, we can create a difference,” said Phuong.

This sentiment was also clearly presented in the data from Kantar Media, on Who’s Watching What, Where and How in Vietnam. Local content reigned supreme across linear viewing, rounding up the top 10 most watched titles, with local Vietnamese series also driving over 30% of non-linear viewing. And from a platform perspective, the two most important devices were the Connected TV (CTV) and the smartphone, with CTV penetration at a striking 91% in the market. “It’s not a case of linear TV being replaced by video on demand, but that they complement each other. For the TV industry to develop, we must find out a way to serve the target audience according to their needs,” said Tran Thi Thanh Mai, General Director, Kantar Media Vietnam.

For Esther Nguyen, Founder & CEO, POPS Worldwide, their content strategy was always to look at the audience first, and the lifetime value of that audience, and serving the content that they want to watch, when they want to watch and on the platform of their choice. However, “playing in the digital world and operating among many different platforms is a double-edged sword,” shared Nguyen. “Platforms are global and have democratized content and what audiences watch. Audiences are now open to watching content from all over the world. We are no longer competing with just local content, but with global content,” she surmised in her closing keynote session.

Vietnam in View is proudly sponsored by Lead Sponsor Cultural and Creative Industries Development Agency (CCIDA); Silver Sponsors A+E Networks Asia, INVIDI, PubMatic and TV5MONDE.

Visit our media gallery for photos from event.

About the Asia Video Industry Association