FILMART 2026: International filmmakers stress value of creative intellectual property
Hong Kong, April 9 (HS): Professionals working in the film and television content production sector who participated in the 30th Hong Kong International Film and TV Market (FILMART) and EntertainmentPulse held last month in Hong Kong expressed inte
हांगकांग में गत माह संपन्न 30वें हांगकांग अंतर्राष्ट्रीय फिल्म और टीवी बाजार (फिल्मार्ट) और एंटरटेनमेंटपल्स शिखर सम्मेलन


हांगकांग में गत माह संपन्न 30वें हांगकांग अंतर्राष्ट्रीय फिल्म और टीवी बाजार (फिल्मार्ट) और एंटरटेनमेंटपल्स शिखर सम्मेलन


हांगकांग में गत माह संपन्न 30वें हांगकांग अंतर्राष्ट्रीय फिल्म और टीवी बाजार (फिल्मार्ट) और एंटरटेनमेंटपल्स शिखर सम्मेलन


हांगकांग में गत माह संपन्न 30वें हांगकांग अंतर्राष्ट्रीय फिल्म और टीवी बाजार (फिल्मार्ट) और एंटरटेनमेंटपल्स शिखर सम्मेलन


Hong Kong, April 9 (HS): Professionals working in the film and television content production sector who participated in the 30th Hong Kong International Film and TV Market (FILMART) and EntertainmentPulse held last month in Hong Kong expressed interest in partnerships for diverse productions, with an emphasis on global collaboration, overcoming linguistic barriers and valuing creative intellectual property.

The four-day event, held between March 17 and 20, was attended by nearly 8,000 film industry experts from 53 countries and territories who discussed issues related to Artificial Intelligence (AI) and better utilisation of creative intellectual property (IP).

The exhibition, organised by the Hong Kong Trade Development Council (HKTDC), was attended by 790 exhibitors from 38 countries and territories. These included ASEAN member states such as Cambodia, Malaysia, Thailand and Vietnam, as well as developed markets such as Canada, France, Italy, Korea, the United Kingdom and the United States. According to organisers, the diverse participation reaffirmed Hong Kong’s vibrant role in cultural and artistic exchange.

Many participants attended FILMART for the first time and described it as a valuable experience.

Meeting partners from Turkey, the UK, the US and Brazil opened up new opportunities. Overall, this event in Hong Kong is full of possibilities, said Timothy Oh, General Manager, COL International Group, Singapore.

Along with producers, buyers were also enthusiastic. Buyer Bijan Tong from the UK entered a strategic agreement with Mofac and outlined plans for several co-productions.

FILMART is a platform for real deals and partnerships. The event turned Asia meetings into investment opportunities, he said.

At the AI Hub, Chinese technology companies demonstrated AI applications for animation, short drama and digital humans.

FILMART connects us to global needs and has proven to be key to overseas expansion, said Zhihan Zhang, CEO of Daogu Culture.

The newly established AI Academy organised 19 workshops supported by the Cultural and Creative Industries Development Agency and the Film Development Fund.

More than 100 producers from Hong Kong and other countries participated in Producers Connect, organised by the Department of Culture, Sports and Tourism of the Hong Kong Special Administrative Region. The sessions focused on global production collaboration.

Golden Globe winner Janet Yang said the world is evolving beyond borders and language barriers.

Investors from different sectors should diversify and present their vision to the market, director Peter Chan said.

Various forums at FILMART highlighted emerging industry trends. The EntertainmentPulse Forum and Digital Entertainment Summit discussed AI, streaming, short drama and financing. Justin DeMain of Goldfinch International advised valuing creative intellectual property before making investments.

According to the Hong Kong Trade Development Council, FILMART and EntertainmentPulse 2026 further strengthened Hong Kong’s position as a major entertainment business hub in Asia and highlighted the importance of innovation, collaboration and cross-border partnerships in shaping the future of the global film and television industry.

First-time exhibitors from Singapore, Sri Lanka and Myanmar also appreciated the opportunities for international partnerships. British buyer Bizhan Tong said FILMART remains one of the most effective global platforms for cross-border collaboration.

Artificial Intelligence remained a major highlight this year, with leading Chinese technology companies showcasing innovations such as AI animation, short drama and digital human technologies. Professionals also received practical AI training through 19 workshops organised by the AI Academy.

The Producers Connect initiative also brought together over 100 producers from around the world. Janet Yang and Peter Chan shared their views on international co-production and the need to connect investors across sectors.

The India Pavilion, dedicated to the Indian film and entertainment industry, was also set up at the exhibition.

A special briefing was held at the India Pavilion on March 18. Rajesh Naik, Consul General of India in Hong Kong, and Abhay Sinha, Director General of the Services Export Promotion Council (SEPC), along with Johnson Ng and Josephine Lam of HKTDC, were present.

The interaction saw enthusiastic participation from delegates who discussed India’s growing presence in the global entertainment market and future collaboration opportunities.

The EntertainmentPulse and Digital Entertainment Summit also discussed streaming strategies, short dramas, financing and AI. Experts stressed the need for better valuation of creative intellectual property to attract investments.

More than 2,200 creative projects were listed in the FILMART Online IP Catalogue alongside the exhibition. The platform will remain open until April 27, 2026, allowing industry participants to expand business opportunities globally.

The conference was attended by Chan Kwok Kee, Chief Secretary for Administration of the Hong Kong Special Administrative Region; Rosanna Law, Secretary for Culture, Sports and Tourism; Professor Frederick Ma, Chairman of HKTDC; Dr Peter Lam, Chairman of the HKTDC Entertainment Industry Advisory Committee; Dr Wilfred Wong, President of the Hong Kong International Film Festival Society; Qin Zhengui, Deputy Director-General of the Film Bureau; Yang Yong, Deputy Director-General of the Department of International Cooperation; and representatives of the National Radio and Television Administration.

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 rajesh pande