The four-day Hong Kong Filmart opens on Tuesday (17 March) with heavy government messaging from across Asia and mainland China in particular and robust creative flag-waving from Taiwan, South Korea, Malaysia, Thailand and Cambodia.

Korea’s KOCCA-sponsored showcase kicks off the conversations along with a discussion organised by mainland China’s International Cooperation Department of the National Radio and Television Administration and hosted by the National Cultural Export Base – China (Zhejiang) International Cooperation Zone for Film and Television Industries. 

The opening China session looks at “premium content production, innovation enabled by technology, and global collaboration in communication” with prominent industry leaders sharing “forward-looking perspectives and hands-on expertise”.

Other official mainland agencies take to the stage with a range of promotional activities. These include the Shanghai Municipal Administration of Film and Television; the Fujian Film Industry promotion body; Guangdong, which highlights upcoming film productions and showcases the province’s filming advantages; and Guangzhou/Hong Kong, with a presentation that includes film and television industry support policies.

Sichuan authorities take the mic in a session themed “Tapestry of Tianfu – Cinema of Sichuan”, designed to showcase Sichuan’s film and television development and highlight its filming resources, along with signing ceremonies and announcements of new productions. “The promotion aims to deepen Sichuan-Hong Kong cooperation and empower high-quality “Sichuan-Made” screen productions to reach global audiences,” the body says. 

Malaysia has secured an opening morning slot for government bodies – the Ministry of Communications, FINAS and Malaysia Tourism – which are driving a discussion entitled, “Malaysia on Screen: Powering Global Productions Through Incentives, Tourism and Creative Excellence”. 

Cambodia’s pitch from the Department of Cinema and Cultural Diffusion and the Cambodia Tourism Board (CTB) centres around ambitions as Southeast Asia’s emerging film hub. Cambodia, it says, “is ready for full production partnerships”.

Thailand plays to its strengths in a 90-minute Boys’ Love (BL) and Girls’ Love (GL) showcase that involves talent from about 10 productions plus a discussion on trends shaping the genre. A second session looks more broadly at Thai content, and pitches the country’s international collaboration strengths.  

Taiwan, meanwhile, presents its story under the banner of government agency, the Taiwan Creative Content Agency (TAICCA).  

Commercial voices from Asia as well as other parts of the world follow government positions, kicking off with Chinese production powerhouse Linmon Pictures’ slate reveal for 2026-2027; and Youhug Media, which presents a range of C-drama, including "The Awakening". 

Winsing Animation, fresh from the official selection of its original animated feature "Into the Mortal World for MONSTRA – Lisboa Animation Festival and the 2026 WAFF – Wellington Animation & Film Festival this month, is at the market pushing its international momentum as well as animation as a universal storytelling medium. Ahead of the festivals, director Ding Zhong talked about the film’s emotional storytelling, Chinese cultural expression, and themes of family and courage. 

Winsing, which showcases its 2026 animation slate at Filmart, is part of the Guangdong Pavilion and will formally introduce the new "GG Bond" film, "Race Through Time" scheduled for mainland China release in May 2026.  

Supported by trademark country pavilions, a wide community of regional and international distributors have signed up for Filmart, swelling genre options and bringing with them high hopes for new leads across Asia.

Blue Ant – part of the Canadian Pavilion at Filmart – says its presence in Hong Kong comes on the back of its newly expanded APAC team and a slew of FAST channel deals in the region. Bruno Liporoni has joined APAC MD Jon Penn as VP, international sales for ANZ/Japan, and Jason Soh, Asia VP for distribution, has added China and Korea to his existing remit. Blue Ant shows at Filmart include three-part factual series, "The Philippines"; nine-episode "Passport Properties"; and "Becoming Elephant: The Orphans Of Reteti".   

A priority for BEC World, which is part of the Thailand Pavilion, is new prime-time Channel 3 drama, "Brothers", starring Nadech Kugimiya, James Ma and Amanda Obdam. The series is about a talented young boxer who goes undercover to infiltrate a powerful crime syndicate. When his police officer wife steps in to save him, she confronts her past love, igniting a dangerous love triangle. 

Asia’s indie film conversations coalesce around the regional Asian Film Alliance Network (AFAM), which leads a session called “International Coproductions in an Evolving Film Industry Landscape” moderated by secretary general Lorna Tee. Speakers are filmmakers Peter Chan, Anthony Chen (Giraffe Pictures), Ron Dyens (Sacrebleu Productions), Janet Yang (Janet Yang Production) and Shamin Yusof (Skop Productions). 

Given China’s dominance in the microdrama space, the exhibition floor is bound to be awash with talk about cliffhangers, how to make billions before someone dies, and innovation to fast-track output. 

The multi-panel short-drama symposium on Thursday afternoon rides this wave, promising to outline “Opportunities of Globalisation and Collaborations in the Greater Bay Area”. The China-listed COL Group is also there with a clear promise: “From Zero to Vertical: Launching a Microdrama Platform in 30 Days”. 

AI, predictably, is given prime-time status at this year’s Filmart, including the AI Academy stream and sessions. Participants include Chinese production giant Mei Ah, which says it will unveil its “revolutionary” AI short drama strategy. This harnesses the company’s film/IP library. “We’re reinventing classic films as irresistible short drama for worldwide audiences,” the company says, teasing its first project slate and its evolution to an “AI-driven content powerhouse”. 

ManyMany Creations is in Hong Kong talking about using AI in Nine Awake, a  sci-fi short tracing an astronaut’s awakening in a retro-futuristic Hong Kong space station. The company’s talking points include ways to “harness generative tech in animation pipelines while preserving artistic control, IP integrity, and narrative vision to redefine Hong Kong’s creative future”.

Other AI evangelists at Filmart include Raymond Tsang (Alibaba Cloud International); Yuhang Cheng (Midjourney China Lab); Kling AI’s Jing Wu; Wayne Tam on Wuji’s AIGC filmmaking pipeline; and Pan YuYing, content director at MiniMax Hailuo AI.