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The international film marketplace returns to the Hong Kong Convention & Exhibition Centre for the 30th edition of Hong Kong Filmart, scheduled for March 17–20, 2026. Organizers expect more than 780 exhibitors and roughly 7,700 industry professionals, reflecting a broad regional footprint: about 42 percent of exhibitors are from Hong Kong and mainland China, while buyers are estimated at 30 percent local, 60 percent from the rest of Asia and 10 percent from other regions. In recent years the event has shifted from straightforward rights trading toward offering strategic intelligence on new business models, with an increased emphasis on emerging formats and technology partnerships.
Against that industry backdrop, the Thai feature Prasert makes its first market appearance. The project is being launched by Bangkok‑based Shinesaeng Ad.Venture in collaboration with 66cc and Kongkiat Production. Under the sales plan, Shinesaeng will handle international rights for Southeast Asia while 66cc — the company founded by producer Jeffrey Chan — will lead sales for the rest of the world. The film, directed by Kongkiat Khomsiri and starring Num Kanchai, Weir Sukollawat and Two Popetorn, follows a car rental owner who witnesses a murder and finds his family targeted by a violent gang, blending suspenseful set pieces with a human core.
Market positioning and creative goals for Prasert
Producers are framing Prasert as more than a conventional genre entry: the creative team has focused on character and narrative craft to give the thriller an emotional anchor. Director Kongkiat Khomsiri, known for previous work such as Our House, emphasizes a balance between tension and empathy to help audiences relate to the protagonists. On the commercial side, the split sales approach — with Shinesaeng taking Southeast Asia and 66cc covering global territories — is designed to leverage regional familiarity while tapping international sales networks, aiming to secure festival play, regional distribution and streaming windows.
Creative talent and sales mechanics
The film’s casting and production pedigree are central to its market appeal. With established Thai names like Num Kanchai, Weir Sukollawat and Two Popetorn, sellers are positioning the title for both theatrical and streaming buyers who prize recognizable talent. 66cc brings experience in international sales, feature development and licensing, while Shinesaeng is pushing to expand Thai cinema’s footprint across Asia. That dual approach reflects a strategic belief that strong scripts, production values and character-driven stories are the best route to wider commercial results for Thai films.
Filmart’s program: tech, new formats and co‑production
Beyond individual titles, this year’s Filmart features a pronounced focus on technology and fresh content models. The event’s AI Hub and dedicated sessions explore how tools such as AIGC (audio, images, script and video generation) and virtual production can alter both creative workflows and business models. Workshops and exhibitors include established tech players and start‑ups, and the agenda aims to help creators and sales agents translate new capabilities into practical, monetizable projects rather than treating them as mere novelties.
Microdrama, Producers Connect and national pavilions
Filmart’s programming also spotlights microdrama — short, vertical series that have become a lucrative format in some Asian markets — and an expanded Producers Connect platform dedicated to matching local producers with overseas partners. National pavilions for countries including Italy, Korea, France, Germany, Malaysia and Thailand underline Filmart’s role as a meeting ground; Italy’s delegation, organized by Cinecittà and ICE, brings a sizable Italian presence and more than a dozen companies to the Italian Pavilion.
Geopolitics, attendance and industry caution
The market is not operating in a vacuum: geopolitical tensions and regional disputes have introduced uncertainty. Organizers have been monitoring events such as the US‑Iran conflict and diplomatic strains affecting programming decisions, which can influence attendance and the visibility of certain territories. Nevertheless, Filmart continues to attract a range of buyers and sellers, and the conversation increasingly centers on how to sustain cross‑border collaboration in a complex environment while tapping the commercial potential of new formats and technologies.
For Prasert and other titles arriving at Filmart, the show offers a chance to find partners who appreciate both creative ambition and market readiness. Producers like Shinesaeng see the market as an opportunity to showcase Thai storytelling craft and to build distribution strategies that combine theatrical, streaming and regional licensing. In a marketplace shaped by AI explorations, microdrama growth and geopolitical pressures, titles that couple strong narrative foundations with clear sales plans are the ones most likely to break through.