The 30th Hong Kong International Film & TV Market (FILMART) and EntertainmentPulse, organized by the Hong Kong Trade Development Council (HKTDC), concluded successfully after four days, attracting about 8,000 industry professionals from 53 countries and regions. The events featured over 790 exhibitors from a record 38 countries and regions, including emerging markets from ASEAN—such as Cambodia, Malaysia, Thailand, and Vietnam—and mature film markets like Canada, France, Italy, Korea, the United Kingdom, and the United States. This strong participation underscores Hong Kong's position as a center for cultural and artistic exchange and a key hub for the global film and television industry.
FILMART continues to serve as one of the region's most influential film and television trading platforms, facilitating cross-regional collaboration and business opportunities. First-time exhibitors highlighted the event's importance. Timothy Oh, General Manager of COL International Group from Singapore, noted that FILMART plays a key role in helping companies expand their international networks, stating, "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." Similarly, Sachitha Kalingamudali, General Manager of Mogo Studios from Sri Lanka, said FILMART exceeded expectations, with distributors from many countries showing genuine interest. Myanmar's 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 recognized the exhibition's business matching effectiveness and content diversity. 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, which showcased leading AI and technology companies' latest innovations, attracting buyers and potential partners worldwide. Through this platform, many Mainland start-ups and established enterprises accelerated their expansion into overseas markets and built international networks. 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 and insights into emerging trends.
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 over 100 producers from Hong Kong and around the world. Through networking sessions, panel discussions, and workshops, it provided a cross-regional platform for creative collaboration. At a panel 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 noted, "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—EntertainmentPulse and the Digital Entertainment Summit—focused on the latest developments in global film, television, and entertainment technology. EntertainmentPulse addressed topics including artificial intelligence, streaming platform strategies, short dramas, co-production, and financing trends. 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 over 2,200 creative IP projects, extending the four-day physical fair into a two-month networking platform open until 27 April, further consolidating Hong Kong's position as Asia's film and entertainment trading hub.
