The 30th Hong Kong International Film & TV Market (Filmart) and EntertainmentPulse, organised by the Hong Kong Trade Development Council (HKTDC), concluded with the participation of about 8,000 industry professionals from 53 countries and regions. Held over four days, the events featured more than 790 exhibitors from 38 countries and regions, the highest level of participation to date. Enterprises from emerging markets such as Cambodia, Malaysia, Thailand, and Vietnam joined those from established film industries including Canada, France, Italy, Korea, the United Kingdom, and the United States, underscoring Hong Kong’s role as a hub for cultural and artistic exchange.
This year’s Filmart reaffirmed its role as a leading film and television trading platform in the region. It brought together exhibitors, buyers, and producers from both emerging and established markets, facilitating cross‑regional collaboration and business exchanges.
Participating in Filmart for the first time, Singapore’s COL International Group general Manager Timothy Oh said, “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.” Sachitha Kalingamudali, General Manager of another first-time exhibitor Mogo Studios from Sri Lanka, said FILMART exceeded his expectations. “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 step towards exploring the international market. Founder Arker Soe Oo connected with distributors from the US and Europe and indicated plans to bring additional productions to the event next year.
An UK buyer Bizhan Tong 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 leading technology companies presented their latest artificial intelligence solutions. The platform attracted buyers and potential partners from around the world for business discussions and exchanges. It also enabled many Mainland start‑ups and established enterprises to accelerate their entry into overseas markets, build international networks, and turn opportunities into tangible business outcomes.
Daogu Culture founder and CEO Zhihan Zhang shared, “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.”
In addition, the newly established AI Academy, supported by the Cultural and Creative Industries Development Agency and the Film Development Fund, was well-received. 19 thematic workshops equipped industry professionals with hands-on AI skills and insights into emerging trends.
Producers Connect, jointly organised 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 this year. Through a series of networking sessions, panel discussions and workshops, Producers Connect provided a cross-regional platform for creative collaboration, enabling industry professionals to share production trends, explore co-production models and discuss potential projects.
Speaking at the panel discussion titled “International Coproductions in an Evolving Film Industry Landscape,” 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 also mentioned, “It’s always difficult to convince the studio, the investor, or now the platform, of a vision you want to make. What you try to do is diversify your investors and partners into different regions.”
Two major forums were held alongside Filmart: EntertainmentPulse and the Digital Entertainment Summit. Both focused on recent developments in the global film, television, and entertainment technology sectors. EntertainmentPulse addressed topics such as artificial intelligence, streaming platform strategies, the growing popularity of short dramas, and trends in co‑production and financing.
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.”
This year’s Filmart was extended through the Filmart Online IP Catalogue, which featured more than 2,200 creative projects. The catalogue transformed the four‑day physical fair into a two‑month networking platform, enabling industry stakeholders to continue exploring business opportunities. It will remain open until 27 April, allowing participants to connect across geographical boundaries and pursue global collaborations.
