As a dedicated fan and follower of the Asian entertainment industry, I am absolutely thrilled by the ambitious plans of Linmon Pictures! Their unique blend of traditional aesthetics with futuristic elements in their period dramas is truly groundbreaking. The fusion of genres and cultures promises an exciting journey for audiences worldwide.
As a dedicated admirer, I’m thrilled to share that Linmon Pictures, based right in the heart of Shanghai, is ambitiously planning a new lineup of lavish period dramas. This strategic move aims to propel their growing global enterprise to even greater heights.
On the second day of the TIFFCOM entertainment market, running alongside the Tokyo International Film Festival, provided an update on its ongoing efforts to expand beyond the Chinese domestic market. The company showcased a variety of upcoming period dramas scheduled for release in 2025 and 2026, along with projects in various other genres.
The company’s lineup features four costume dramas that blend multiple genres. “Moonlit Reunion” is a fantasy drama, starring Xu Kai and Tian Xiwei, taking place in a world intertwining demons with the ancient city of Chang’an, creating a unique supernatural ambiance. “A Dream within a Dream” will be a period romantic comedy, starring Yitong Li and Yuning Liu, blending traditional Wei and Jin aesthetics with cyberpunk elements to merge ancient culture with modern mechanical design. The upcoming projects also include the romantic comedy dramas “In the Moonlight” and “A Journey to Glow,” details about their casts and concepts are still being kept under wraps.
Linmon, a relatively uncommon TV production company based on the mainland, has achieved significant success both domestically and internationally. Previously, Netflix purchased two seasons of Linmon’s romantic drama series titled “Twenty Your Life On” for distribution in regions outside mainland China. This show became popular in Chinese-speaking territories, ranking among the top 10 on Netflix in Taiwan, Hong Kong, Macao, and countries in Southeast Asia with substantial Chinese populations. Netflix also acquired Linmon’s period drama “Legend of Fu Yao“, which made it into Netflix’s top 10 in Korea. Meanwhile, Disney+ bought the rights to stream Linmon’s romance show “A Little Mood for Love” in Southeast Asian markets. In recent years, the company has broadened its production activities across various Asian markets, adapting its most successful Chinese titles into local-language shows.
This week, the company’s top management is in Tokyo to present their projects to potential regional buyers and lend support to Taiwanese-Burmese director Midi Z’s art film, The Unseen Sister, which is premiering internationally in the festival’s main competition. Additionally, they announced that a second season of the crime thriller series, Under the Skin, has been given the go-ahead.
Roy Lu, General Manager of Linmon International, stated that the first season of one of China’s most-watched suspense dramas in 2022 was not only a hit, but it also had the highest completion rate on Tencent Video during that year,” translates to:
Speaking at the TIFFCOM Seminar on Thursday, Zhou Yuan, co-founder and executive VP of Linmon Media, shared that over the past ten years, Linmon Pictures, one of China’s top film and TV production companies, has been consistently providing top-tier content to global audiences. Apart from popular contemporary series like “Nothing But Thirty” and “A Little Reunion”, Linmon has put in considerable effort into creating period dramas that resonate deeply with culture and maintain high production quality.
On Wednesday, Zhou elaborated further on Linmon’s global approach and also discussed “The Unseen Sister,” a film by Z that is competing at the Tokyo Film Festival, during an interview with The Hollywood Reporter.
As a dedicated admirer, I can’t help but feel that “The Unseen Sister” appears to be a production tailored for global audiences. Its selection for film festivals suggests a story that has the potential to resonate universally, making it seem like a tale destined for journeys far and wide.
The narrative carries a universally applicable theme, delving into the struggles faced by women and their resilience against oppression. This relatable message transcends cultural boundaries, making it comprehensible to people worldwide. Whether set in Hong Kong, Europe, or any other part of the globe, its relevance remains constant.
However, your aim is to distribute this movie beyond our local market, as there’s often a pattern where Chinese films primarily target the domestic audience.
Absolutely! My goal is undeniably to propel “The Unseen Sister” towards international audiences, particularly those unfamiliar with Chinese cinema. I aspire to expose this film to the world so that it may provide a glimpse into China and the lives of its people for those outside our culture.
Let’s take a step back for a moment. Some people might argue that the Chinese film industry has become more self-contained over the past five years. It seems that Hollywood films are no longer as appealing, and locally produced content is thriving instead. Is this an accurate observation? Are viewers losing interest in foreign content?
It seems that the current disinterest in Hollywood productions is likely to be short-lived, considering the viewer’s point of view. To illustrate, a film titled The Unseen Sister is currently being screened in Chinese cinemas alongside Venom 3, and surprisingly, both are attracting audiences. It’s worth noting that Venom has also been successful in China. This suggests that people are still eager to visit theaters for foreign films. However, the problem lies in the fact that many recent Hollywood movies have followed a similar commercial pattern, lacking fresh ideas and originality. Consequently, viewers might be growing weary of this repetitive formula, favoring instead more diverse and unique content from various parts of the world rather than just Hollywood or superhero films. The Chinese audience’s preferences have evolved to appreciate a broader and more varied range of content compared to what they enjoyed previously.
Could you help clarify something? I’m curious about the significance of TIFFCOM and the Tokyo International Film Festival for our organization. How much do they matter to us in terms of the market and events?
As a gaming enthusiast, I can’t stress enough how vital it is for me to be a part of this event. The Asian market still holds immense potential and carries a rich history that draws a massive crowd. It’s like a grand celebration for everyone in our gaming community.
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2024-11-01 02:55