Filmart opens gate to China
Already one of Asia’s leading content markets, Filmart is likely to be busier than ever following the relaxation of China’s film quotas. Liz Shackleton reports
T
he Hong Kong International Film and Television Market (Fil- mart) has always touted its con-
venient timing, midway between Berlin and Cannes, as a major draw of the event. But this year its positioning could not be better, coming just a few weeks after China announced it is widening its fi lm quotas. The unexpected news that China is
importing an additional 14 ‘enhanced’ format fi lms a year and increasing dis- tributor share to 25%, should focus attention on Filmart as a major film trading platform right on China’s door- step. For sure, it will be a hot topic of discussion at this year’s edition of the market (March 19-22). It is hoped that more of China’s revenue-sharing quota will become available to independents and that real competition will be intro- duced into the distribution sector. Even before the news broke, the
Independent Film & Television Alliance (IFTA) had almost doubled its US pavil- ion to around 40 companies from just over 20 last year. “We’re fi nding there is a huge appetite for independent studios to come to Asia,” says Raymond Yip, assistant executive director of Filmart organiser, the Hong Kong Trade Devel- opment Council (HKTDC). “The expansion of the quota is a very wel- come move and the US, as the only country that produces Imax fi lms, will be a major benefi ciary.” Now entering its 16th edition, Fil-
mart is arguably the most established content market in Asia — this year it will host around 640 exhibitors and more than 5,000 visitors. Partly due to its rela- tively short four-day running time, it has evolved as a networking event rather than a place to close deals. But many sales agents describe it as a “must
■ 2 Screen International March 2012
ENTERTAINMENT EXPO EVENTS
Filmart, HAF, HKIFF and the Asian Film Awards take place as part of Entertainment Expo Hong Kong which also includes the following events:
■ Hong Kong Film Awards (April 15) ■ Hong Kong Asian Pop Music Festival (March 23)
■ IFPI Hong Kong Top Sales Music Award (Feb 16)
■ ifva — Incubator for Film & Visual Media in Asia (March 13-28)
■ Digital Effects Summit (March 20)
attend” event, particularly for those with Asian-themed content. “While sales are always modest at
best, it’s a good opportunity to meet with the many buyers who did not travel to Berlin,” says Michael Favelle of Aus- tralian sales agent Odin’s Eye Entertain- ment. “We usually close enough to fi nancially justify the trip but certainly it does help in the lead up to Cannes in the same way Toronto and AFM comple- ment each other.” While most European sales agents attend under a national or regional umbrella — European Film Promotion, UniFrance and UK Film Export will all bring delegations — the market is also starting to attract attention from smaller Western territories and regions which are keen to work with Asia. New this year are pavilions organised by Turkey’s Izmir Cinema Association (ICA), the Mexico City Film Commission and the Hungarian Film Fund.
“Turkish cinema is gaining more rec-
(Clockwise from main picture) Flying Swords Of Dragon Gate, The Flowers Of War and Warriors Of The Rainbow: Seediq Bale — all helmed by Chinese directors — head the nominations at the Asian Film Awards
‘We are finding there’s a huge appetite for independent studios to come
to Asia’ Raymond Yip, Hong Kong Trade Development Council
ognition with awards at top festivals, but representation is lacking, so to fill the gap we’re taking this initiative to present Turkish fi lms for the fi rst time in Asia,” explains ICA’s Nesim Bencoya. On the Asian side, there will be the
usual large delegations from Japan, Korea, Taiwan, Malaysia, Indonesia, Thailand and the Philippines. Singa- pore’s Media Development Authority is also returning after an absence of a few years.
China will also be high on the agenda in Filmart’s conference programme which will feature a seminar on the mainland’s rapidly evolving online dis- tribution sector, with panellists includ- ing Youku’s Zhu Hui Long and Qiyi CEO Gong Yu. The market will also feature a seminar on screenwriting for the global market, with speakers including Kung Fu Panda writer and producer Glenn Berger.
A Separation
Meanwhile, it is a special year for the Hong Kong Asia Film Financing Forum (HAF, March 19-21), which is
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