Working throughout the identical week as Hong Kong‘s Filmart, the Hong Kong-Asia Movie Financing Discussion board (HAF) is considered one of Asia’s longest-running mission markets. In its twenty third version this yr, the three-day HAF will characteristic 25 shortlisted initiatives in-development from March 17 to 19.
This yr’s initiatives embody Yellow, which is produced by prime Japanese fillmmaker Hirokazu Kore-eda for brand spanking new director Miyoh Yamaura, in addition to Republic of Mahalaxmi Condo, the debut characteristic from Niladri Mukherjee, which is produced by Indian director Aditya Vikram Sengupta.
In accordance with HKIFF Business Director Jacob Wong, HAF obtained 276 in-development mission submissions from 45 nations and areas this yr, together with Hong Kong, Thailand, Turkey, Kazakhstan and South Korea.
“Geographically, Hong Kong is on the southernmost of East Asian and northernmost of Southeast Asia, and looks as if a perfect place to carry collectively individuals from each areas,” Wong tells Deadline. “We do all the opposite issues as a result of we wish to do a bit extra, particularly with youthful filmmakers.
“HAF has been in enterprise for a few years, is really a regional and worldwide occasion, which is kind of engaging to individuals from mainland China. It at all times has an honest line-up and a observe file of initiatives attending and profitable at main movie festivals, and sometimes, turning into field workplace winners. Whenever you’re good, usually you are also blessed with success.”
Whereas HAF anchors the expanded HKIFF Business Mission Market, which takes place on the Hong Kong Conference & Exhibition Centre, business packages like HAF Goes to Cannes, HAF Movie Lab are all additionally parked underneath the broader HKIFF Business umbrella.
Moreover, HKIFF Business will companion with CAA China for a second version subsequent yr to run the HKIFF Business-CAA China Style Initiative (HCG), which final happened in 2024. This yr, they are going to present a script session award.
Wong highlights that two key additions to HKIFF Business this yr embody the the Animation Initiative, which can showcase six projects and host two panels on Asian animation along with Filmart. In accordance with occasion organisers, there was a 60% surge in submissions within the animation class since final yr, reflecting the business’s fast development within the area.
“It’s fairly obvious that animation is turning into an vital product line, and we’re very to see it flourish,” says Wong.
The opposite addition is a brand new collaboration with Jakarta Movie Week, which can see two Indonesian initiatives arriving on the market. Wong says that forming partnerships with different organizations and occasions from round Asia is a key focus for HKIFF Business’s future.
2024 proved to be a combined yr for Hong Kong’s movie business. Though two home productions — The Final Dance and Twilight of the Warriors: Walled In surged previous the HK$100M (US$12.9M) mark on the field workplace in a single yr, complete annual income dropped and fewer movies are being produced in Hong Kong.
“When my merchandise don’t promote, I ask questions on my merchandise,” says Wong. “Realistically it’s most likely reasonably troublesome for a metropolis of seven.5 million to help and maintain a movie business. Nurturing a movie tradition is nonetheless a definite chance. That will be the European mannequin of subsidy cinema with the federal government enjoying a significant function.”
Wong highlighted the necessity for larger help for filmmakers creating their sophomore options. He identified administrators like Sasha Chuk, who made the triple Golden Horse-winning Fly Me to the Moon. She is at present placing collectively her second characteristic with financing primarily coming from Hong Kong. Chuk is planning to shoot the movie in Shenzhen and Hong Kong.
“The federal government already has a beneficiant scheme for supporting first options, however not a lot additional on,” says Wong. “We’ve seen the primary characteristic help producing some first rate outcomes, however few such first-time filmmakers shifting on to their second movie.”
