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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, Mar 20, 2025 – (ACN Newswire) – 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 playersThis 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 storyThe 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 opportunitiesThe 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.

Website:
FILMART-www.hktdc.com/hkfilmart/en
EntertainmentPulse-entertainmentpulse.hktdc.com/en

Photo Download:https://bit.ly/4bKZLCC

Media enquiries

For enquiries, please contact:

Raconteur PR:
Betsy Tse Tel: (852) 9742 7338 Email: betsytse@raconteur.hk
Molisa Lau Tel: (852) 6187 7786 Email: molisalau@raconteur.hk

HKTDC Communication and Public Affairs Department:
Kelly Shek Tel: (852) 2584 4554 Email: kelly.yt.shek@hktdc.org
Snowy Chan Tel: (852) 2584 4525 Email: snowy.sn.chan@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 trade publications, research reports and digital news channels. For more information, please visit: www.hktdc.com/aboutus.

FILMART and EntertainmentPulse open today

– Exhibitors from 34 countries & regions to expand global market and explore opportunities in filmmaking

– More than 760 exhibitors have gathered from 34 countries and regions, forming over 30 regional pavilions with 7 new pavilions from Australia, Cambodia, France, India, Malaysia, Saudi Arabia, Vietnam– New in 2025 is the Producers Connect programme featuring a series of events, fostering international collaboration and supporting up-and-rising Hong Kong producers– Inaugural AI Hub pilot project showcasing innovative AI applications across the filmmaking process– Ne Zha 2 production team sharing AI special effects experience– The 23rd Hong Kong Asia Film Financing Forum sets record with 48 shortlisted projects, introducing new animation feature and Indonesian new director sections

The 29th Hong Kong International Film and TV Market (FILMART) and EntertainmentPulse, coordinated by the Hong Kong Trade Development Council (HKTDC), opened today until 20 March at the Hong Kong Convention and Exhibition Centre.

The Entertainment Expo Hong Kong, encompassing nine major entertainment events including FILMART and EntertainmentPulse, held its opening ceremony this afternoon at the FILMART venue. The ceremony was officiated by Eric Chan, Chief Secretary for Administration of the Hong Kong SAR, Rosanna Law, Secretary for Culture, Sports and Tourism, Dr Peter K N Lam, Chairman of the HKTDC, Yan Ni, Deputy Director General of International Cooperation Department of the National Radio and Television Administration, and Hong Kong entertainment ambassador Leon Lai. The Expo is co-organised by the HKTDC and sponsored by Cultural and Creative Industries Development Agency (CCIDA), the Film Development Fund, and the Culture, Sports and Tourism Bureau.

Dr Lam said, “The Expo’s theme this year is Dare to Change, Dare to Excel. It offers nine engaging events covering film, television, music and digital entertainment, promoting cultural exchange and partnerships. A new addition this year, the Hong Kong Film Music Fiesta, will help strengthen connections between the film and music sectors. This will create more business opportunities, while showcasing Hong Kong’s film music culture and creativity to a wider audience.”

Dr Lam continued: “This year’s FILMART is more international than ever, with over 760 exhibitors from 34 countries and regions. It remains Asia’s leading entertainment content marketplace. Together with our concurrent conference EntertainmentPulse, this dynamic platform helps industry players capture collaboration opportunities in the fast-changing world of film and entertainment.”

FILMART gathers pavilions from over 30 countries and regions

This year’s FILMART brings together exhibitors from 34 countries and regions, forming over 30 regional pavilions, demonstrating remarkable scale. New overseas pavilions include Australia, Cambodia, France, India, Malaysia, Saudi Arabia and Vietnam. The event also welcomes first-time exhibitors from emerging markets such as Armenia, Czech Republic and Kazakhstan. The participation of ASEAN countries has also significantly increased, with over 100 exhibitors from seven ASEAN countries. Following the success of the Thai Day event at FILMART 2024, Thailand has returned with an expanded pavilion, further fostering creative industry collaboration and exchange between Hong Kong and Thailand.

Numerous Hong Kong film and entertainment organisations are also participating, including Emperor Motion Pictures, Media Asia, Golden Scene, Edko Films, Entertaining Power, Mei Ah Entertainment, and Muse Communication, who are launching their latest films and development plans to capitalise on opportunities from this annual event. RTHK, Television Broadcasts Limited and Makerville have also set up exhibition booths, whilst academic institutions including Hong Kong Baptist University and Hong Kong Academy for Performing Arts are actively participating to jointly promote innovative development in local film and TV production.

Mainland China entertainment giants, who have been actively expanding into overseas markets in recent years, continue to demonstrate their prowess at FILMART. Major film and entertainment platforms, such as Tencent Video, Bilibili, iQiyi and Alibaba Group, are presenting their latest content offerings and commercial initiatives. Mainland provinces and cities including Guangdong, Zhejiang (Hangzhou, Ningbo, Hengdian and Huzhou), Jiangsu, Hubei, Beijing and Shanghai are organising regional pavilions, aiming to export more Chinese content to the world and facilitate Mainland China’s cultural industries to go international.

Producers Connect fosters exchange and collaboration among film producers

This year’s FILMART introduces the inaugural Producers Connect programme – a collaborative effort between the Culture, Sports and Tourism Bureau, Cultural and Creative Industries Development Agency, Hong Kong Film Development Council, and HKTDC, providing a valuable network to connect producers from Hong Kong and around the globe. The programme encompasses a conference panel, fireside chats, workshops, group business matching and networking events.

The conference panel, namely “International Coproduction: Balancing Risks and Rewards”, has drawn several internationally renowned producers from different countries to share their experiences, including French producer Natacha Devillers, who currently works in mainland China, Korean producer Justin Kim, and Brazilian producers Gabriela Tocchio. The Fireside Chat series will explore commercial opportunities across various markets, including emerging markets like Indonesia and Saudi Arabia, as well as oversea markets like the United Kingdom. The series also invite experienced speakers to share the potential and development for IP extension. Additionally, the programme includes group business matching sessions, facilitating more collaborations and support Hong Kong film industry in expanding global overseas market.

To further promote the development of creative intellectual property (IP), this year’s FILMART launches an Online IP Catalogue showcasing more than 1,400 IPs from exhibitors, extending beyond the four-day physical event to 2-months. The catalogue facilitates buyers in discovering suitable projects while enabling exhibitors to explore potential collaboration. Additionally, the FilmArt Café will display artworks created by students from the Hong Kong Design Institute. Inspired by characters and scenes of different Hong Kong movies, the display encourages youth creations and steers the industry to explore collaborations and extensions of IPs.

AI Hub pilot programme herald new era in the entertainment industry

The HKSAR Government is fully committed to developing artificial intelligence as a key industry, and this year’s FILMART introduces the pioneering AI Hub pilot project, a joint initiative by the Association of Motion Picture Post Production Professionals (AMP4), Movie Producers and Distributors Association of Hong Kong (MPDA), and HKTDC, showcasing how AI technology is revolutionising film and TV production.

The exhibition area features three themed zones: the Pre-production Zone, the Visual and Voiceprint Recognition Zone, and the Virtual Production Zone, where various technology companies showcase their innovative applications. Sony is presenting the innovative AI capabilities of its camera, whilst Lenovo demonstrates its “Digital Twins” solution merges 3D scanning, AI, and advanced generation technologies for the digital restoration of historic architecture.

The pilot project also receives support from academia, with Hong Kong Baptist University and The Hong Kong Academy for Performing Arts School of Film and Television showcasing their latest applications in film production, including a virtual cinematic system, AI Motion Acting Agent, etc. A comprehensive programme of workshops and forums will feature industry experts examining AI technology applications across various aspects of film and television production, alongside discussions of pertinent legal and intellectual property considerations, enabling industry professionals to harness the opportunities presented by AI advancement.

FILMART is hosting more than 30 exceptional events this year, including the Thailand – China Film and Television Communication and Cooperation Forum & the 1st Thailand – China Short Drama Awards Ceremony for Join in, the Forum on International Communication: Cooperation and Innovation for a New Vision, and the International Short Drama Association 2025 International Short Drama Forum. Major mainland media enterprises, including bilibili and Linmon International, will host content showcases presenting their latest works.

On the international front, Phoenix TV and the UK’s Department for Business and Trade are jointly organising a UK-China Screen Forum, with the latter bringing a delegation including representatives from the British Film Institute to explore collaboration opportunities. Several ASEAN nations, including Indonesia, Malaysia and Thailand, will conduct exchange sessions to showcase their burgeoning film and television industries and markets to the international community.

Additionally, the Hong Kong Movie Music Showcase 2025 presents three flash-mob performances on the exhibition’s opening day, themed ‘Echoes of Order and Chaos”, featuring reimagined classic scores from Hong Kong crime and action films, arranged by music directors Tomy Wai and Julian Chan.

EntertainmentPulse convenes international industry leaders to share market insights

The fourth EntertainmentPulse, running concurrently with FILMART, addresses key topics including co-production, Asian animation, streaming platforms, artificial intelligence and ASEAN film markets. The Hong Kong Film Development Council, Hong Kong International Film Festival Society and other film organisations have collaboratively arranged four days of specialised discussions, welcoming industry leaders worldwide to examine the internationalisation of Asia’s entertainment industry.

The conference emphasises innovative AI applications in the film industry, featuring distinguished speakers including Jihong Chen, Partner of Zhong Lun Law Firm, Liu Zhen, Vice President of Beijing Kuaishou Technology Co., Ltd., Jason Li, Managing Director of Mei Ah Entertainment Group, and the representatives from the production companies of Ne Zha 2, Yu Zhixin, Producer of Hong Li Animation Studios, and Liu Baoyu, Vice General Manager of Heguang Post-Production, who will analyse opportunities and challenges in related fields.

The ASEAN Film Production Development & market Outlook session presents prominent industry figures including Michael Chai, Chief Executive Officer of Westec Media Limited from Cambodia, Derrick Heng, Chief Marketing Officer, PT Telekomunikasi Indonesia, Teck Lim, Managing Director, Clover Films Pte. Ltd., Songpol Wongkondee, Director of Sales and Distribution, GDH 559 Co., Ltd, and Koh Mei Lee, Chief Executive Officer, Golden Screen Cinemas (GSC) from Malaysia, exploring regional market development potential.

The conference concludes with sharing sessions by several local film industry professionals from 2024 blockbusters, including Philip Yung, director and screenwriter, and Amy Chin, producer of Papa, Anselm Chan, director and producer, and Cheng Wai-kei, screenwriter, of The Last Dance, who will share their creative journeys and perspectives on industry development.

HKIFF Industry Project Market connects global screen talent

The 23rd Hong Kong–Asia Film Financing Forum (HAF23) is a core initiative of the HKIFF Industry Project Market. This year’s programme features a record 48 film projects across various sections, including 25 in-development projects15 works-in-progress projects, and 6 animation projects in the newly established animated feature film section.

The HKIFF Industry Project Market has also collaborated with Jakarta Film Week to launch a new section titled Jakarta Film Week Projects, showcasing the in-development projects of two emerging Indonesian filmmakers, further promoting film cooperation within Asia. All selected projects will participate in business matching sessions with investors, producers and distributors from more than 35 countries and regions during the three-day event, jointly exploring development opportunities in the Asian film market.

FILMART and EntertainmentPulseDate: 17 – 20 March 2025Website: FILMART — www.hktdc.com/hkfilmart/enEntertainmentPulse — entertainmentpulse.hktdc.com/enProgramme — hkfilmart.hktdc.com/conference/hkfilmart/tc/programme

Entertainment ExpoDate: 16 March – 27 April 2025

Spectacular events: Three founding projects – Hong Kong International Film & TV Market (FILMART), Hong Kong International Film Festival (HKIFF), Hong Kong Film Awards (HKFA); and six core events: Asian Film Awards (AFA), Digital Entertainment Summit (DES), EntertainmentPulse (EP), Hong Kong – Asia Film Financing Forum (HAF), Hong Kong Film Music Fiesta (new event included under EE 2025), and Microfilm Production Support Scheme (Music)

Photo Download: https://bit.ly/3Fzvfj3

Media enquiries

For enquiries, please contact:

Raconteur PR:
Betsy Tse Tel: (852) 9742 7338 Email: betsytse@raconteur.hk
Molisa Lau Tel: (852) 6187 7786 Email: molisalau@raconteur.hk

HKTDC Communication and Public Affairs Department:
Kelly Shek Tel: (852) 2584 4554 Email: kelly.yt.shek@hktdc.org
Snowy Chan Tel: (852) 2584 4525 Email: snowy.sn.chan@hktdc.org

HKTDC Newsroom: http://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. Follow us on @hktdc and LinkedIn

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

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

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Media enquiries
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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.