Hong Kong Filmart’s IP Platform Expansion Aims to Create an Online Marketplace

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Every year, Hong Kong Filmart showcases its unique ability to indicate the direction in which the wind of the Asian content market is blowing to the worldwide entertainment sector.

This year’s 29th in-person event edition will likely receive a great deal of focus on its online components, particularly the enhancement of the event’s digital platform into a complete Intellectual Property (IP) Catalogue as organizers describe it.

Previously, the main purpose of the online platform was centered around “exhibition planning and operation,” which essentially made it function similarly to an online booth. However, in this latest format, exhibitors will now have the opportunity to present their projects in a comprehensive manner, thereby enhancing the platform’s efficiency as a marketplace for Intellectual Property (IP) trading, as stated by event organizers, the Hong Kong Trade Development Council (HKTDC).

Additionally, it benefits travelers planning a trip to Hong Kong by providing them with useful information ahead of time. While the actual Filmart event is scheduled from March 17-20 at the Hong Kong Convention and Exhibition Centre, the IP Catalogue will be accessible online for a period of ten weeks, spanning from late February until mid-April.

Candas Yeung, from the HKTDC’s Service Promotion Department, explains that this strategic decision aims to create a central marketplace for trading intellectual property (IP). This action enhances business compatibility significantly and strengthens Hong Kong’s reputation as the leading IP trading hub in Asia.

As a fan, I’m excited about the HKTDC’s IP Catalogue! This innovative tool provides exhibitors with their own personal space to display their intellectual property data. Plus, it comes equipped with sophisticated search and filtering options, making it easier than ever for buyers to find exactly what they’re looking for.

Yeung, from the HKTDC, explains that this IP Catalogue is like an extension of the physical exhibition experience, allowing visitors to delve into exhibitors’ projects both before and after events like [Filmart]. It serves as a powerful platform for potential business opportunities, sparking dynamic discussions and negotiations that lead to increased engagement and fruitful collaborations within the industry.

In essence, the IP Catalogue is more than just a digital catalog; it’s a launchpad for successful partnerships in the heart of the bustling entertainment industry.

On its debut, users can anticipate finding sophisticated search and sorting functions, comprehensive project details such as production specifics, storylines, visual materials like posters, images, and trailer connections, plus the opportunity for immediate contact with prospective global buyers and event attendees, according to the HKTDC.

Attending Filmart is a forward-thinking decision, since it serves as an entry point to China’s film industry. During the recent Lunar New Year (January 28 – February 4), which is usually the busiest period at the box office in the country, films based on some of the nation’s most popular intellectual properties dominated, resulting in a record-breaking $1.3 billion collected over eight days.

One of the standout films among them was “Ne Zha 2” from Enlight Pictures, which drew upon Chinese mythology. This movie raked in over $858 million at the box office and currently holds the record as China’s highest-grossing domestic film of all time. Other successful franchises include the new installments of “Detective Chinatown 1900” (earning $313 million) and “Creation of the Gods II: Demon Force 9” (grossing $137 million).

As a cinema enthusiast, I’m eagerly anticipating my visit to Filmart, where I’ll have the opportunity to delve deeper into some fascinating film titles. Moreover, I can’t wait to discover what intellectual properties are available for acquisition from one of the world’s most vibrant and dynamic film industries – the second-largest, no less!

Last year marked the initial in-person gathering of Filmart following the pandemic, which spanned over four days. Over 760 exhibitors representing 27 different countries and territories participated, as well as more than 7,500 professionals from 50 diverse nations and regions.

This year, visitors will gain insights into the current happenings in Hong Kong. Despite a significant decrease in box office earnings (down 37% to $3.9 million during the Lunar New Year), the city has experienced an influx of locally produced films that have broken individual box office records in the past two years.

Lately, Anselm Chan’s directed movie titled “The Last Dance,” produced by Emperor Motion Pictures, has been the top earner at Hong Kong’s box office. This film, set within the funeral industry of Hong Kong, grossed an impressive $18.28 million.

Chan will participate in a Filmmaker Discussion panel at Filmart, alongside Philip Yung – director of the family crime film “Papa”, nominated for three prizes at the Asian Film Awards. Additionally, “The Last Dance” is also nominated for awards at the same event, which takes place in Hong Kong the evening before Filmart begins.

Yeung clarifies that the session aims to blend education within the exhibition, nurture budding talents, and spur on industrial progress. Invitations have been extended to tertiary institutions possessing the necessary knowledge to contribute.

The Discussion with Filmmakers is a segment within the EntertainmentPulse collection, offering panel discussions and networking events that coincide with Filmart. It delves into the latest trends and hurdles in the ASEAN film market, particularly focusing on animation and streaming (Over-the-Top), which plays a significant role in the growth strategies at this event.

MartinArt has taken a lead by bringing together exhibitors and investors from prominent Asian streaming services. This strategic move is propelling the growing streaming market forward at multiple levels within the exhibition,” remarks Yeung. He emphasizes a joint seminar with the Asia Video Industry Association as a key event. “This seminar will examine how Over-The-Top (OTT) platforms are revolutionizing distribution networks, providing filmmakers with fresh opportunities to reach international viewers. The discussions will also address the increasing influence of Artificial Intelligence (AI) in video streaming, covering topics like content delivery optimization, AI-generated insights, automated promotion, churn reduction, personalized user experiences, and the advancement of media technology ecosystems.

During the session, Yeung emphasizes one key objective: offering analyses of successful content types currently thriving on Over-The-Top (OTT) platforms. This analysis aims to help creators tailor their projects according to present audience tastes and assess Return on Investment (ROI) metrics. The ultimate goal is to equip filmmakers with valuable insights for making well-informed decisions that contribute to long-term success.

Additionally, there’ll be an exclusive initiative designed for content creators, featuring seminars, cozy discussions, and social gatherings, all geared towards fostering connections among diverse Asian filmmakers and their respective industries.

According to Yeung, the fair showcases diversity from around the world, highlighting numerous countries that enrich the entertainment sector. Visitors can expect to see cutting-edge market tendencies, such as groundbreaking content styles, narrative techniques, and technological breakthroughs that are transforming the industry.

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2025-02-16 10:25