The 30th Hong Kong International Film & TV Market (FILMART) and EntertainmentPulse, organized by the Hong Kong Trade Development Council (HKTDC), concluded successfully after attracting about 8,000 industry professionals from 53 countries and regions. The four-day events featured over 790 exhibitors from a record 38 countries and regions, including emerging markets like Cambodia, Malaysia, Thailand, and Vietnam, alongside mature markets such as Canada, France, Italy, Korea, the United Kingdom, and the United States. This diverse participation underscores Hong Kong's position as a center for cultural and artistic exchange.
FILMART continues to serve as one of the region's most influential film and television trading platforms, facilitating cross-regional collaboration and business cooperation. First-time exhibitor Timothy Oh, General Manager of COL International Group from Singapore, noted that FILMART plays a key role in helping companies expand their international networks. "I am meeting friends and new business partners from Turkey, the UK, the US, and even Brazil. Hong Kong’s role as an international hub helps create a bustling market with many business opportunities for those looking at innovation and what’s next," he said. Another first-time exhibitor, Sachitha Kalingamudali, General Manager of Mogo Studios from Sri Lanka, said FILMART exceeded his expectations, adding, "We've met distributors from many countries, and everyone has shown genuine interest. This is a great kickstart for future partnerships." Myanmar film production company aTwentyThree chose FILMART as its first move to explore the international market, with founder Arker Soe Oo connecting with distributors from the US and Europe and planning to bring more productions next year.
Overseas buyers also expressed strong recognition of the exhibition’s business matching effectiveness. Bizhan Tong, a buyer from the UK, commented: "FILMART continues to be one of the most effective platforms globally for driving cross-border collaboration. This year we formed a new strategic partnership with MOFAC, advanced multiple projects across both our and other companies' slates, and saw a highly concentrated run of meetings with partners across Asia translating into tangible co-investment and co-production opportunities."
A highlight of this year’s FILMART was the AI Hub, where multiple leading AI and technology companies showcased their latest technologies, attracting buyers and potential partners from around the world. Through this platform, many Mainland start-ups and established enterprises accelerated their expansion into overseas markets. Zhihan Zhang, Founder and CEO of Daogu Culture Limited, remarked, "Whether it is AI animation, short dramas, or digital humans, the key to the future lies in global strategy. FILMART gathers global industry professionals, facilitates connections and exchanges, and enables us to understand the various client needs of different overseas markets." The newly established "AI Academy," supported by the Cultural and Creative Industries Development Agency and the Film Development Fund, offered 19 thematic workshops equipping professionals with hands-on AI skills.
Producers Connect, jointly organized by the HKSAR’s Culture, Sports and Tourism Bureau, the Cultural and Creative Industries Development Agency, the Hong Kong Film Development Council, and the HKTDC, united more than 100 producers from Hong Kong and around the world. Through networking sessions, panel discussions, and workshops, the initiative strengthened connections between Hong Kong and the international film community. Speaking at a panel, Golden Globe-winning producer Janet Yang observed, "The world is getting flatter, language is mattering less and less to audiences everywhere." Producer and director Peter Chan noted the importance of diversifying investors and partners across regions.
Two major forums, EntertainmentPulse and the Digital Entertainment Summit, focused on the latest developments in global film, television, and entertainment technology. Topics included artificial intelligence, streaming platform strategies, short dramas, co-production, and financing. The Financing & Investment panel explored Asian private investment trends and project financing strategies. Justin Deimen, Managing Partner of Goldfinch International, shared, "We need to allocate more resources and capability towards creative IP valuation. If you cannot value something, you cannot invest in it." Additionally, the FILMART Online IP Catalogue features more than 2,200 creative IP projects, extending the physical fair into a two-month networking platform until 27 April, further consolidating Hong Kong’s position as Asia’s film and entertainment trading hub. For more information, visit FILMART and EntertainmentPulse.
