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The 30th Hong Kong International Film & TV Market returned with crowded aisles and an energy attendees compared to the market’s pre-pandemic peaks. The event and its co-located forum, EntertainmentPulse, brought roughly 8,000 industry professionals from 53 countries and regions, and featured over 790 exhibitors from a record 38 countries, including first-time participants such as Belgium, Poland, Sri Lanka, Myanmar and Uzbekistan. That turnout underlined a simple fact: there is a growing global hunger for Asian content, and more players want to secure distribution, partnerships and new formats.
Exhibitors and delegates described Hong Kong’s role as a strategic hub for international deals and creative exchange. Timothy Oh of COL International Group said meetings spanned markets from the U.K. to Brazil, highlighting how FilMart’s positioning invites cross-border collaboration. The market also hosted the returning AI Hub and a newly launched AI Academy with 19 hands-on workshops, signalling that conversations about artificial intelligence are moving from speculation toward concrete workflows in production and post.
AI: from headline to everyday tool
At this edition the tone on AI shifted from hype to implementation. Companies including Alibaba Cloud, Kling, MiniMax and Vidu exhibited alongside academic partners such as the University of Hong Kong and the Hong Kong Academy for Performing Arts, while panels explored how generative text, audio and animation are being deployed. Industry veterans offered mixed reactions: some called AI a creative partner at roundtables, while respected filmmakers warned that it could displace weaker commercial projects. The debate balanced optimism about efficiency with concerns over artistry, and made clear that AI integration is now a practical production conversation rather than a speculative talking point.
Practical adoption and guarded optimism
Practical use-cases surfaced across the market floor: Mei Ah Entertainment presented short dramas generated with AI for mobile audiences, and several companies announced hybrid animated vertical projects. Meanwhile, filmmakers noted that certain generative shots had appeared in pitch reels but would be replaced by traditional VFX in finished work, a tacit admission of both the tool’s power and the caution producers feel about audience expectations. Observers also pointed to widespread AI dubbing in China’s drama production and argued that adoption rates vary by territory and platform habits, especially where mobile viewing dominates.
China’s market power and diplomatic nuances
Mainland Chinese participation remained a headline feature, with 355 companies on site and a strong presence across the halls, but access and appetite are multilayered. China’s box office generated approximately $7.4 billion in 2026, and year-to-date 2026 revenue stood at about $1.58 billion, a drop driven in part by the exceptional success of specific titles in 2026. Local films still account for nearly 80% of ticket sales, while audience demographics shift toward women and older viewers. At the same time, longstanding restrictions—such as an unofficial ban on Korean content since 2016—remain a practical barrier for some distributors despite recent diplomatic signals of thaw.
Distribution, diplomacy and gradual openings
Korean companies at FilMart expressed frustration that mainland distribution channels are not yet fully accessible, even as political steps, including high-level meetings early in 2026, suggested a cautious warming. Buyers and sellers reported conversations about loosening content red lines, and select mainland screenings of previously unavailable titles were noted as tentative signs of change. Producers and sales agents are watching for concrete shifts, but for now the marketplace combines immense commercial weight with careful gatekeeping.
New formats and regional voices reshape opportunity
Beyond AI and China’s scale, the market showcased format and geographic expansion. Microdrama—short vertical episodes designed for mobile—continues to mature as an industry, not just a trend. Companies such as Linmon Media reported success in Southeast Asian territories with mobile-first titles, and industry players launched turnkey solutions like the “Microdrama in a Box” bundle to speed regional rollouts. Southeast Asian newcomers, from Myanmar and Sri Lanka to the Philippines, used FilMart as a launchpad to meet buyers and explore co-productions, demonstrating that fresh creative voices and new business models are feeding demand for diverse content.
Market in motion
Attendees left the venue noting that FilMart’s identity is evolving: panels leaned toward Chinese-language content and some sessions reduced English translation, reflecting shifting priorities and budgets. Industry executives said the market remains supremely useful for deal-making even as formats diversify and technologies reshape workflows. In short, the 30th FilMart underlined a resilient, changing industry: AI, co-productions and new formats like microdrama are not hypothetical trends but active forces altering how content is made, sold and consumed across Asia and beyond.